<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/266977">
    <dcterms:title><![CDATA[Between the Living and the Dead : Widows as Heroines of Medieval Romances]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Criseyde in TC and other widowed protagonists in medieval romances (Roman de Thèbes, Chértien&#039;s Yvain), exploring how &quot;necessity of possession and ideals of chastity&quot; are the prevailing stereotypes of the literary tradition. Unlike Boccaccio&#039;s Criseida, Chaucer&#039;s Criseyde escapes these stereotypes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264488">
    <dcterms:title><![CDATA[Between the Motion and the Act: Intentions and Ends in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[TC is a thoroughly Christian poem in which characters of a pagan past bring about through their actions the contrary of their expectations, whereas the narrator achieves his purpose exactly, despite his seemingly varied tones.  Thus the palinode operates not as contradiction but as logical outcome of the narrator&#039;s Christian intent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276766">
    <dcterms:title><![CDATA[Between the Normative and the Performative: Sex, Parody, and Other (In)tractable Issues in Geoffrey Chaucer&#039;s &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that Chaucer uses parody to critique discrepancies between Christian ideals and human realities, exploring ways that sexual activities and descriptions in MilT, an earthy fabliau, parody the courtly ideals of KnT, an idealized romance. Through MilT, Chaucer challenges courtly ideals and &quot;doctrinal inflexibility.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271914">
    <dcterms:title><![CDATA[Between Two Stools: Scatology and Its Representations in English Literature, Chaucer to Swift]]></dcterms:title>
    <dcterms:description><![CDATA[In &quot;Turning the Other Cheek: Scatology and Its Discontents in The Miller&#039;s Tale and The Summoner&#039;s Tale,&quot; pp. 12-59, Smith uses farting in MilT and SumT to explore Chaucer&#039;s complex and refined &quot;scatological rhetoric,&quot; a trope that has been obscured by frequent bowdlerizing of these tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272648">
    <dcterms:title><![CDATA[Beyond Canterbury: A Meta-Humanistic Study of Chaucer&#039;s Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Defines meta-humanistic criticism, offers an extended critique of &quot;basic fallacies&quot; in Chaucer criticism, and assesses KnT, particularly its major characters. Dissertation completed in 1971.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264975">
    <dcterms:title><![CDATA[Beyond Canterbury: Chaucer, Humanism and Literature]]></dcterms:title>
    <dcterms:description><![CDATA[One of the stumbling blocks to an unbiased reading of Chaucer is the prevalence of &quot;humanistic&quot; criticism, which is &quot;intra-literary&quot; and a kind of &quot;anti-literature.&quot;  The necessary corrective is &quot;&#039;meta&#039;-humanistic&quot; criticism, which strives &quot;not to extend literature by means of the mirror-image admiration called criticism, but rather to terminate literary history.&quot; Fallacies of humanistic Chaucer criticism include:  the tendency to &quot;inflate&quot; Chaucer to &quot;cosmic proportions&quot; (Dryden&#039;s &quot;God&#039;s plenty&quot;); the &quot;noumenalization&quot; of the work into &quot;Literature,&quot; which glorifies the author and the work as prophet and eternal truth; unflagging &quot;internalization&quot; and &quot;allegorizing&quot; of language rather than accepting linguistic &quot;indirection&quot;; and &quot;re-Christianizing&quot; or &quot;re-Medievalizing&quot; Chaucer. In application, these methods of &quot;meta-humanistic&quot; criticism reveal that BD is an unorthodox elegy, which offers a &quot;dramatization of emotional growth&quot; paired with &quot;deepening wisdom.&quot;  The emphasis is upon the self, through &quot;the first modern dialogue with death, not a traditional elegaic confrontation with the infinite.&quot; Similarly, KnT is not a regular romance.  Through examining its language and archetypal character relationships, it can be seen that the tale is actually &quot;the tragedy of the humanist condition, the tragedy of what it feels like to be a modern self caught in the fascinating yet fatal imperatives of this (now) unknowable process called life.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277262">
    <dcterms:title><![CDATA[Beyond Consolation: The Ethics and Politics of Sorrow in Late Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. From the abstract: &quot;The chapters examine a range of Middle English literary texts that respond to the prescriptive recommendations for mourning outlined in Boethius&#039;s Consolation of Philosophy and in the . .  . penitential literature that emerged in the decades after the Fourth Lateran Council . . . , [including discussion of works by] authors such as Langland, Chaucer and Hoccleve.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277467">
    <dcterms:title><![CDATA[Beyond Deadly Sins and Virgin Impairments: Medieval Bodies in Disability Studies.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates &quot;how medieval authors implement impaired bodies in service of spiritual exploration,&quot; addressing depictions of impaired bodies generally excluded from disability studies, such as &quot;personified sins, aging bodies, and martyrs&#039; bodies.&quot; Discusses disbelief as a form of metaphorical blindness in SNT, and the &quot;double prosthesis&quot; of Cecilia&#039;s conversions of others and her ongoing presence in the world. Also comments on Ceyx&#039;s body in BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270041">
    <dcterms:title><![CDATA[Beyond Fidelity: The Illustration of Late Medieval English Literary Texts]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes between the modern &quot;expressive&quot; function of book illustration and various medieval practices. Modern practice is evident in W. Russell Flint&#039;s 1928 illustrations to CT, while the Ellesmere illustrations evince efforts to &quot;restore social and cultural norms&quot; that the poem undermines. Pearsall comments on the horses and costumes of the Ellesmere illustrations and those in Cambridge University Library MS Gg.4.27. He discusses medieval practices exemplified in manuscripts of Gower&#039;s &quot;Confessio Amantis&quot; and of &quot;Piers Plowman. 29 b&amp;w illus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275705">
    <dcterms:title><![CDATA[Beyond Misogyny: Individuality in Three Medieval Writers&#039; Portrayals of Women.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats Boccaccio&#039;s &quot;Famous Women,&quot; LGW, and Christine de Pizan&#039;s &quot;The Book of the City of Ladies,&quot; reading Chaucer&#039;s &quot;faithful women&quot; in LGW &quot;as metaphors [of] the relationship between authorship and readership, trying to define his own position [as] both a translator and a writer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269582">
    <dcterms:title><![CDATA[Beyond Raptus: Pedagogies and Fantasies of Sexual Violence in Late-Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys representations of sexual violence as both gender oppression and means to self-awareness between the thirteenth and fifteenth centuries in England, discussing WBPT and Mel, among other texts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274005">
    <dcterms:title><![CDATA[Beyond Reformation? An Essay on William Langland&#039;s &quot;Piers Plowman&quot; and the End of Constantinian Christianity.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides close reading and interpretation of &quot;Piers Plowman,&quot; and observes how Chaucer and Langland often share similar political and religious views of medieval society. Refers to SumT, WBPT, GP, KnT, ParsT, RvT, and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268217">
    <dcterms:title><![CDATA[Beyond Rome: Mapping Gender and Justice in The Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[A nationalistic fantasy of legal sovereignty underlies MLT and its depiction of England in relation to Rome through the figure of Constance. Anxiously embracing the geographic and forensic marginality of England, &quot;Chaucer&#039;s lawyer exhibits a version of the ideological vacillation and uncertainty that Homi Bhabha and other contemporary theorists associate with nationalism.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Revised version in Lavezzo&#039;s Angels on the Edge of the World (Ithaca, N.Y.: Cornell University Press, 2006), pp. 93-113.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269266">
    <dcterms:title><![CDATA[Beyond Rome: Mapping Gender and Justice in the Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Revised version of an essay of the same title in Studies in the Age of Chaucer 24 (2002): 149-80.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268749">
    <dcterms:title><![CDATA[Beyond the Fig Leaf : Sexuality, Consumption and the Clothed Medieval Self]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Chaucer&#039;s vernacular poetry as part of the discourse on &quot;vestimentary appearance and consumption.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277172">
    <dcterms:title><![CDATA[Beyond the Girlboss.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Criseyde in TC and the protagonists of LGW as evidence of Chaucer&#039;s effort &quot;to articulate the problem of writing about women: in the public eye, no female character is entitled to a full personality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265612">
    <dcterms:title><![CDATA[Beyond the Gothic Cathedral: Post-Modern Reflections in &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The ending of CT is intentionally ambiguous,leaving the choice of a final meaning--if there &quot;is&quot; one--to the reader.  The most characteristically &quot;Chaucerian&quot; reading of the ending is also the most modern:  to choose not to make a choice is to make certain that one does not choose amiss.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277557">
    <dcterms:title><![CDATA[Beyond the Lines: Materiality and Non-Linear Time in Medieval English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Uses &quot;mostly . . . a phenomenological approach&quot; to explore &quot;how objects in Medieval English Literature disrupt individual linear time.&quot; Addresses various texts and, in a chapter on TC, argues that &quot;Criseyde is representative of Freudian melancholia&quot; and &quot;that she embodies the revolt of the Lemnian women (&quot;Thebaid&quot; 5) . . . extracting what for her is the truth content&quot; of the episode.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266071">
    <dcterms:title><![CDATA[Beyond the Question of Who Influenced Whom: The Shaping of the Individualist Consciousness in Eustace Deschamps&#039;s &#039;Miroir de mariage&#039; and Chaucer&#039;s &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges assumptions underlying traditional studies of sources and relative chronology, suggesting that similarities between Deschamps&#039;s work and Chaucer&#039;s are evidence of late-fourteenth-century literary style and common &quot;mentalites&quot;.  Compares ways Chucer and Deschamps manimpulate their readers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273607">
    <dcterms:title><![CDATA[Biblical &quot;Figura&quot; in Chaucer&#039;s &quot;Troilus and Criseyde,&quot; ll. 1380–86: &quot;As don thise rokkes or thise milnestones.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Notes that the visual imagery of falling rocks and millstones Pandarus uses to convince Troilus of his future success is associated with death and destruction in the Bible, which actually undermines Pandarus&#039;s argument in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269862">
    <dcterms:title><![CDATA[Biblical Analogy and Secondary Allegory in Chaucer&#039;s The Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Biblical analogies embedded in KnT constitute an implied critique of the pre-Christian setting: Palamon and Arcite&#039;s first sight of Emelye accords with David&#039;s first sight of Bathsheba (2 Samuel 11:2); loving Emelye reorganizes Arcite&#039;s psyche and morals as love of Christ revolutionized Paul&#039;s (Philippians 3:3-9); the representation of &quot;womman travaillynge&quot; in Diana&#039;s  temple recalls Revelation 12:1-2 and--as a sacramental image that both heathens and Christians would recognize--Romans 1:20.  Familiar to the audience although not to the characters, these analogies point to broader moral allegory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261598">
    <dcterms:title><![CDATA[Biblical Exegesis, Typology, and the Imagination of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer uses biblical exegesis and typology for thematic purposes.  In ClT, Griselda is portrayed as &quot;pharmakos,&quot; a &quot;figura Christi,&quot; through Chaucer&#039;s addition of biblical colorings and the typological juxtaposition of her character and actions with those of Walter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263713">
    <dcterms:title><![CDATA[Biblical Interpretation: St. Paul and &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[A reworking of the author&#039;s &quot;Saint Paul and the &#039;Canterbury Tales&#039;&quot; (Mediaevalia 07 (1981): 91-131).  Saint Paul is invoked in NPT to justify use of fables; in ParsT, to reject them.  Chaucer&#039;s own attitude is the Nun&#039;s Priest&#039;s.  Pauline ideas inform much of CT:  proper use of time, fruit-chaff metaphor, etc., in ShT, MLT, KnT, NPT, Mel, ParsP, ParsT, FrT, WBP, WBT, SumT, ClT, PardT, MLE, Th, PrT, ManT, and Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271869">
    <dcterms:title><![CDATA[Biblical Paradigms in Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Examines literary paradigms found in works from Caedmon to Malory. Chapter 4 discusses biblical analogies and the &quot;language of love&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273819">
    <dcterms:title><![CDATA[Biblical Parody in the &quot;Summoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contributes to discussions of the effectiveness of SumT by describing its &quot;pattern of biblical parody&quot; centered on Pentecost, arguing that the Summoner uses the pattern to attack the claim that friars, like the apostles, &quot;have a special divine grace.&quot; The wheel image, the theme of wrath, and the alignment of anal imagery in SumP and SumT help to criticize fraternal arrogance and effectively spite the Friar.]]></dcterms:description>
</rdf:Description></rdf:RDF>