<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275070">
    <dcterms:title><![CDATA[On the Use of &quot;lief&quot; in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the difference in use and function between the &quot;be&quot; + &quot;lief&quot; and the &quot;have&quot; + &quot;lief&quot; constructions, and between these constructions and &quot;like&quot; and &quot;list&quot; in Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275069">
    <dcterms:title><![CDATA[The Pleasure of English Language and Literature: A Festschrift for Akiyuki Jimura.]]></dcterms:title>
    <dcterms:description><![CDATA[Contains essays on Chaucer&#039;s use of language, speech, and tone. For essays that pertain to Chaucer, search for The Pleasure of English Language and Literature under Alternative Title. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275068">
    <dcterms:title><![CDATA[A Historical Phonology of English.]]></dcterms:title>
    <dcterms:description><![CDATA[A textbook history of the &quot;phonological structure&quot; of English, i.e., &quot;the history of individual sounds and their representation, the history of syllable structure and word stress.&quot; The comprehensive Subject Index lists numerous references to Chaucer and the examples he provides for describing the &quot;evolution of the English stress system&quot; (largely through adaptation of foreign words) and the development of English verse forms. The volume is accompanied by an online Companion that offers &quot;additional readings, exercises, comments, and further resources.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275067">
    <dcterms:title><![CDATA[On the Pluperfect Aspect in English.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the use of the past perfect forms in GP and Mel. In Japanese with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275066">
    <dcterms:title><![CDATA[Chaucerian &quot;Tone&quot;: A Tentative Study on Chaucer&#039;s Poetic Language.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines words and expressions that generate the &quot;&#039;emotive&#039; or &#039;lyrical&#039; mood&quot; in Chaucer&#039;s works, especially those in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275065">
    <dcterms:title><![CDATA[The Language of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses the status of Chaucer&#039;s language in the development of a standard written English, explores grammatical differences between his dialect and &quot;present-day&quot; English, and clarifies the difficulties of understanding the innovativeness of his lexicon in light of the complications of borrowings from French. Describes tools available for further study of these aspects of Chaucer&#039;s language.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275064">
    <dcterms:title><![CDATA[Chaucer&#039;s Cunning: An Incarnational Pun and an Omission in the &quot;Middle English Dictionary.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the word &quot;cunning,&quot; omission of its sexual connotations in the MED, and the ways in which Chaucer puns on the word in previously unconsidered sexual contexts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275063">
    <dcterms:title><![CDATA[Chaucer-Type.]]></dcterms:title>
    <dcterms:description><![CDATA[Revises and expands De Gaynesford&#039;s essay &quot;Speech Acts, Responsibility, and Commitment in Poetry&quot; (2013), which identifies a type of poetic performative speech-act that he labels the &quot;Chaucer-type,&quot; explaining it by reference to the poet&#039;s dedication of his book in TC 5.1856-62, and assessing its performative features.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275062">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Gnof.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;gnof&quot; (MilT 1.3188) is Chaucer&#039;s neologism, clarifying the trouble his scribes had with the word, detailing its later use in English (especially in association with Kett&#039;s Rebellion of 1575), and establishing the likelihood that Chaucer derived it from the Italian interjection &quot;gnaffé&quot;--evidence that Boccaccio&#039;s &quot;Decameron&quot; 3.4 was a source of MilPT and its theme of readers&#039; expectations. Compares &quot;gnof&quot; with Lewis Carroll&#039;s &quot;brillig.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275061">
    <dcterms:title><![CDATA[From There: Some Thoughts on Poetry &amp; Place.]]></dcterms:title>
    <dcterms:description><![CDATA[Cites and quotes a portion of Dorigen&#039;s &quot;song&quot; in FranT 4.857-94 as an early, pre-Romantic lyrical example of the &quot;&#039;Crossing Brooklyn Ferry&#039; effect&quot; in poetry, a trope by which reference to a physical space links the inner concerns of multiple people.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275060">
    <dcterms:title><![CDATA[Katherine Mansfield, Virginia Woolf, and the Nature Goddess Tradition.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Katherine Mansfield&#039;s and Virginia Woolf&#039;s uses of personifications of Nature as a feature of their modernism, derived from their familiarity with medieval and Renaissance depictions of Nature as a goddess, including Chaucer&#039;s Nature in PF. Also comments on the writers&#039; familiarity with the Wife of Bath and with Pandarus as a Pan figure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275059">
    <dcterms:title><![CDATA[Inspir&#039;d Bards: An Unidentified Quotation in Pope&#039;s &quot;Dunciad&quot; Variorum.]]></dcterms:title>
    <dcterms:description><![CDATA[Asserts without explanation that a reference to Chaucer in &quot;To Mr. Creech on His Translation of Lucretius&quot; by &quot;J. A.&quot; derives from RvT 1.3992 and that it may help to clarify a crux in Alexander Pope&#039;s &quot;Dunciad&quot; Variorum.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275058">
    <dcterms:title><![CDATA[Chaucer&#039;s Death, Lydgate&#039;s Guild, and the Construction of Community in Fifteenth-Century English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies a &quot;pray for Chaucer&quot; trope in fifteenth-century commentary on the poet, observing a &quot;metaphor of literary history&quot; that is based in &quot;guild-like community,&quot; underpinned by notions of purgatory, intercession, and friendship. Rooted in Thomad Hoccleve&#039;s attention to &quot;communal responsibility for Chaucer&#039;s soul,&quot; and deepened by John Lydgate, the &quot;&#039;pray for Chaucer&#039; tradition&quot; was modified by William Caxton, reworked as an exclusionary &quot;cult of Father Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275057">
    <dcterms:title><![CDATA[Feminizing Aureation in Lydgate&#039;s &quot;Life of Our Lady&quot; and &quot;Life of Saint Margaret.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in &quot;Life of Our Lady&quot; and &quot;Life of Saint Margaret&quot; John Lydgate uses the &quot;paradoxical image&quot; of the virginal and fecund &quot;sanctified female body&quot; to distance himself &quot;from the patriarchal Chaucerian poetic model&quot; and assert that his &quot;decorative poetic style&quot; is not &quot;merely ornamental&quot; but is &quot;integral to his poetic matter.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275056">
    <dcterms:title><![CDATA[Flowers of Friendship: Amity and Tragic Desire in &quot;The Two Noble Kinsmen.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Shakespeare and John Fletcher&#039;s adaptation of KnT in &quot;The Two Noble Kinsmen&quot; emphasizes the failure of same-sex friendship, darkens tone, and approaches tragic pessimism--in contrast with Chaucer&#039;s &quot;cautiously optimistic philosophical romance.&quot; Compares aspects of the play with KnT--particularly details pertaining to flower imagery and same-sex friendship in tension with erotic, procreative love--and assesses the anxious depiction of Chaucer and literary paternity in the prologue to &quot;The Two Noble Kinsmen.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275055">
    <dcterms:title><![CDATA[A &quot;Myrrovre&quot; for Magistrates: The Sociology of a Mid-Tudor Text.]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that William Baldwin&#039;s &quot;Mirror for Magistrates&quot; (1559) was previously seen as linking the medieval literature of Chaucer and Boccaccio with the early moderns.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275054">
    <dcterms:title><![CDATA[Dressing Up as a Franklin&#039;s Housewife: Native Sources for Shakespeare&#039;s &quot;Cymbeline.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that FranT provided the &quot;raw material and structures of dramatic feeling&quot; for Shakespeare&#039;s &quot;Cymbeline,&quot; encouraging critics to adopt a more expansive view of source relations, and observing how and where the tale and the play illuminate each other, especially on questions of love and marriage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275053">
    <dcterms:title><![CDATA[Humor and Humoralism: Representing Bodily Experience in the Prologue of the &quot;Siege of Thebes.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Reinforces connections between the prologue to Lydgate&#039;s &quot;Siege of Thebes&quot; and CT. Claims Lydgate responds to Chaucer&#039;s caricature of the Monk in defense of monasticism; alludes to the Monk&#039;s portrait and the person of the Host in GP; borrows references to the Monk&#039;s manliness in Mel-MkL, rewriting them in terms of gluttony rather than sexuality; and makes his Host echo Pertelote&#039;s advice in NPT. Claims that the &quot;body humor&quot; in Lydgate&#039;s prologue bolsters monastic authority and flatters its audience while cautioning it against interference in monastic affairs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275052">
    <dcterms:title><![CDATA[Shakespeare and Chaucer: Dream Visions and Dramatic Designs.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that in &quot;Cymbeline,&quot; &quot;The Tempest,&quot; and &quot;The Taming of the Shrew,&quot; Shakespeare sets his work in conversation with the dream visions BD and HF, thereby allowing Shakespeare to claim a place in the Chaucerian line of English canon and to challenge Ben Jonson&#039;s arguably greater claim.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275051">
    <dcterms:title><![CDATA[The Political Unconscious of the Allusion: Shakespeare&#039;s Habits of Mind and the Cultural Politics of Reading Chaucer in Early Modern England.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies an allusion to HF (lines 703-4) in &quot;King Lear&quot; (5.3.17), arguing that, although Chaucer&#039;s poem was &quot;marginalized&quot; in sixteenth-century editions because of its stance on literary fame, Shakespeare read it and echoed it &quot;unconsciously,&quot; displaying &quot;three things: an independent habit of mind, skepticism toward the literary canon, and a preference for subversive artistic practice.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275050">
    <dcterms:title><![CDATA[Making English Low: A History of Laureate Politics, 1399-1616.]]></dcterms:title>
    <dcterms:description><![CDATA[While examining Thomas Hoccleve, John Skelton, and Ben Jonson, suggests that Hoccleve &quot;channels&quot; Harry Bailly from CT as a demotic voice, drawing upon the routines of London life in the establishment of an &quot;English writerly voice worthy of laureate status.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275049">
    <dcterms:title><![CDATA[Shakespeare Rewords Chaucer: &quot;Troilus and Cressida.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the glossary and other &quot;editorial apparatus&quot; of Speght&#039;s 1598 edition of Chaucer&#039;s &quot;Workes&quot; &quot;yokes&quot; Chaucer&#039;s language and lexicon &quot;with his position as an English author,&quot; and that in his use of Speght&#039;s TC as source for &quot;Troilus and Cressida&quot; Shakespeare emulates this &quot;linguistic emphasis&quot; to raise &quot;questions of signification&quot; and evoke skepticism about words and values.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275048">
    <dcterms:title><![CDATA[Falstaff and Fox Fables: A New Source.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s &quot;daun Russel the fox&quot; in NPT 7. 3334 belongs to a centuries-long cohort of foxes whose tastes and tendencies Shakespeare applies to his wily Falstaff.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275047">
    <dcterms:title><![CDATA[Performing Manuscript Culture: Poetry, Materiality, and Authorship in Thomas Hoccleve&#039;s &quot;Regement of Princes.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Examines questions of autobiography, authorship, legacy, and the &quot;Fürstenspiegel&quot; genre in Thomas Hoccleve&#039;s &quot;Regiment of Princes,&quot; with attention to its manuscript presentations and to its images of Chaucer and of Hoccleve himself, discussing the &quot;minor differences&quot; in the versions of the Chaucer portraits and their &quot;major consequences for the text-image relation.&quot; Includes comments on the putative accuracy of Hoccleve&#039;s portrait of Chaucer, other portraits of him, and a &quot;clear reference&quot; to the Wife of Bath in Hoccleve&#039;s poem. Based on the author&#039;s 2014 dissertation, Freie Universität.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275046">
    <dcterms:title><![CDATA[Shakespeare&#039;s Chaucerian Entertainers.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies characters throughout Shakespeare&#039;s canon who &quot;process and engage Chaucer&#039;s ideas on theater, authorship and performance,&quot; and demonstrate &quot;how Chaucer&#039;s poetry is relevant to drama and theatricality.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>