<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/275011">
    <dcterms:title><![CDATA[Birdsong, Love, and the House of Lancaster: Gower Reforms Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces allusions to BD and PF in Gower&#039;s &quot;Cinkante balades&quot; as preserved in the Trentham manuscript. The &quot;intertextual play&quot; and &quot;interpretive challenges&quot; activated by these allusions contribute to Lancastrian legitimization at the same time that they disaggregate the manuscript&#039;s &quot;originating intentions&quot; from its &quot;literary effects.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267050">
    <dcterms:title><![CDATA[Birnbaum: Der Verzauberte B]]></dcterms:title>
    <dcterms:description><![CDATA[Traces common elements in narratives that include the pear-tree motif, including MerT and Decameron 7.9.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268412">
    <dcterms:title><![CDATA[Birth Passages: Maternity and Nostalgia, Antiquity to Shakespeare]]></dcterms:title>
    <dcterms:description><![CDATA[Treats Chaucer&#039;s topoi of bird song, maternal goddess Nature, voice, mother tongue, and biblical gardens in PF. Argues that the movement from aggressive plot to lyric in the poem and its male protagonist&#039;s oblique approach to the maternal draw the reader into an ethical stance of welcoming natality, the mother&#039;s otherness, and the pleasures of maternal sound. Compares Chaucer&#039;s treatment to works by Spenser and Shakespeare.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270557">
    <dcterms:title><![CDATA[Birthday Letters.]]></dcterms:title>
    <dcterms:description><![CDATA[A series of husband-to-wife [Hughes to Sylvia Plath] love poems in free verse, including two poems that refer to Chaucer: &quot;St Botolph&#039;s&quot; (pp. 14-15) which connects Chaucer with Dante and astrology, and &quot;Chaucer&quot; (pp. 51-52) which commemorates a declamation of Chaucer&#039;s poetry [by Plath] to a &quot;field of cows.&quot; Another poem, &quot;Remission&quot; (109-10) refers to the &quot;Wfy of Bath.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262041">
    <dcterms:title><![CDATA[Bishop Bradwardine, the Artificial Memory, and the &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[HF externalizes an artificial memory process that Chaucer learned from &quot;Ad Herennium&quot; and Bradwardine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276512">
    <dcterms:title><![CDATA[Bishop Guðmundr&#039;s Roman Redemption: Imagining and Suspending Papal Government in Medieval Iceland.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the role of the Bishop Guðmundr in mediating the relationship between the papacy and the Icelandic Church in the thirteenth century. Demonstrates how Guðmundr&#039;s actions, and strategy for challenging traditional notions of papal authority, contributed to the development of unique Icelandic forms of religious and political identity. Connects these ideas with how Chaucer also challenged papal authority and satirized papal bulls in such works as ClT by connecting authority to &quot;nefarious agendas.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267298">
    <dcterms:title><![CDATA[Bishop, Prioress, and Bawd in the Stews of Southwark]]></dcterms:title>
    <dcterms:description><![CDATA[There is little or no archival or topographical evidence to suggest that the Prioress&#039;s convent of St. Leonard&#039;s Priory in Stratford-at-Bow profited from houses of prostitution in Southwark. Bordellos existed along the Thames (and were duly taxed and fined), but St. Leonard&#039;s profits (and those of other religious institutions with property in the area) came from legitimate rent and raising fish. Kelly examines meanings of the word &quot;stew&quot; and its variants.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275533">
    <dcterms:title><![CDATA[Bitching Bits of Bone.]]></dcterms:title>
    <dcterms:description><![CDATA[Historical novel about Chaucer&#039;s reasons for the writing of the CT; also includes versions of several characters and tales derived from CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267194">
    <dcterms:title><![CDATA[BL MS Harley 7333 : The &#039;Publication&#039; of Chaucer in the Rural Areas]]></dcterms:title>
    <dcterms:description><![CDATA[Produced in Leicester, Harley 7333 supplies information about how Chaucer was known in the &quot;provinces&quot; outside of London. Shonk disagrees with several of Manly and Rickert&#039;s (1940) ideas about the manuscript and challenges their suggestion that it is the product of a monastic scriptorium.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271823">
    <dcterms:title><![CDATA[Black as the Crow]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews Chaucer&#039;s three uses of a crow (in ManT, PF, and as a &quot;metaphor for the very blackness of blood&quot; at the end of KnT) as a &quot;marker for silence, sterility, and death.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271835">
    <dcterms:title><![CDATA[Black Gold: The Former and Future Age]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Form Age transcends its sources to offer &quot;its own glimmer of hope&quot; for new textual communities.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266083">
    <dcterms:title><![CDATA[Blake and Chaucer : &#039;Infinite Variety of Character&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines William Blake&#039;s painting of the Canterbury pilgrims for its artistic value and its place in the history of taste.  Blake&#039;s &quot;Descriptive Catalog,&quot; which accompanied the first exhibition of the painting, and his &quot;Prospectus&quot; for a subsequent engraving of the pilgrims reflect his views on characterization and his admiration of Chaucer.  ]]></dcterms:description>
    <dcterms:description><![CDATA[  Pace surveys pictorial depictions of Chaucerian materials before Blake and comments on the rise of Chaucer&#039;s popularity in the eighteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267980">
    <dcterms:title><![CDATA[Blake v. Cromek: A Contemporary Reading]]></dcterms:title>
    <dcterms:description><![CDATA[Mertz describes documents and commentary that relate to the illustrations of the Canterbury pilgrims by William Blake and Thomas Stothard, the latter published by Robert Hartley Cromek. The materials belonged to antiquarian Francis Douce (1757-1834) and reflect Douce&#039;s preference for Blake&#039;s work over Stothard&#039;s, unusual at the time.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266078">
    <dcterms:title><![CDATA[Blake&#039;s Chaucer: Scholasticism &#039;post litteram&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[William Blake&#039;s painting &quot;The Canterbury Pilgrims&quot; and his commentary on it in a &quot;Descriptive Catalog&quot; (1809) are a &quot;complex allegory of life, where the classicist belief in the imitation of nature is thoroughly discarded.&quot;  Blake returns to a &quot;scholastic&quot; approach to art and life and rejects Chaucer&#039;s naturalism, sacrificing ambiguity to allegory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271476">
    <dcterms:title><![CDATA[Blake&#039;s Enemies of Art]]></dcterms:title>
    <dcterms:description><![CDATA[The successive deaths between 1810 and 1816 of several men associated with Thomas Strothard&#039;s &quot;Canterbury Pilgrims&quot; painting would seem to have executed a certain poetic justice, for Blake had dubbed himself &quot;Death&quot; in one Notebook poem and, in another, had addressed Strothard as one of his Enemies of Art.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272843">
    <dcterms:title><![CDATA[Blameth Nat Me: A Study of Imagery in Chaucer&#039;s Fabliaux]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the imagery and irony of FrT, RvT, ShT, MerT, SumT, and MilT, focusing on how in each tale Chaucer achieves &quot;organic&quot; unity through transformation of the &quot;conventional formulae&quot; of medieval rhetorical handbooks. Summarizes the practices recommended by rhetoricians, especially Geoffrey Vinsauf, and exemplifies Chaucer&#039;s uses of &quot;effictio&quot; and &quot;notatio&quot; in BD and GP. Then traces how in each of the fabliaux Chaucer artfully crafts patterns of imagery and figurative comparisons to complicate plot, deepen theme ironically, and engage his audience aesthetically and intellectually.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263789">
    <dcterms:title><![CDATA[Blanche]]></dcterms:title>
    <dcterms:description><![CDATA[BD discursively performs the act of burial.  Blanche&#039;s death is comparable to Freud&#039;s &quot;primal scene&quot;; her &quot;whiteness&quot; traces primordial obliteration; as in Lacan, narrative arises in loss.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264753">
    <dcterms:title><![CDATA[Blanche Fever: The Grene Sekeness]]></dcterms:title>
    <dcterms:description><![CDATA[Standard modern studies of courtly love do not refer to a term used in French poetry, &quot;blanche fever.&quot;  A study of this sickness endured by the lovers in TC, &quot;Confessio Amantis,&quot; &quot;The Cuckoo and the Nightingale,&quot; and Caxton&#039;s &quot;History of Jason&quot; reveals its association with many significant courtly love characteristics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275199">
    <dcterms:title><![CDATA[Blanche, Two Chaucers and the Stanley Family: Rethinking the Reception of &quot;The Book of the Duchess.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Questions whether BD circulated in the fourteenth century and whether it was commissioned by John of Gaunt as an elegy for his wife. The mid-fifteenth-century manuscript Oxford, Bodleian Library, MS Fairfax 16 bears the arms of a court functionary, John Stanley of Hooton, who had contact with &quot;a cultural milieu centred on the Duke of Suffolk.&quot; That the manuscript contains both BD and HF &quot;may result from Suffolk&#039;s wife Alice Chaucer making available material from her grandfather&#039;s personal papers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261618">
    <dcterms:title><![CDATA[Blaunche on Top and Alisoun on Bottom]]></dcterms:title>
    <dcterms:description><![CDATA[Blaunche&#039;s description in BD centers on her eyes, whereas Alisoun&#039;s in  MilT centers on her bottom.  These descriptions show the relationship between each character&#039;s essential and physical selves, suggesting that both characters &quot;locate their virtue and vice in the sphere of bodily autonomy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272657">
    <dcterms:title><![CDATA[Blind Beasts: Chaucer&#039;s Animal World]]></dcterms:title>
    <dcterms:description><![CDATA[Studies various aspects of Chaucer&#039;s animal imagery (particularly mammals), describing their traditional associations, and exploring Chaucer&#039;s uses of these conventions, drawing on natural history, exegesis, and popular lore as well as the animals&#039; actions in nature.  Used largely for human characterization, Chaucer&#039;s animal images tend to be traditional but he recurrently develops them in complex ways that incorporate &quot;considerations of the animal&#039;s symbolism, folklore, and physical appearance.&quot; Includes chapters on Chaucer&#039;s general practice as well as his specific uses of the boar, hare, wolf, horse, sheep, and dog, considering his entire corpus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268453">
    <dcterms:title><![CDATA[Blinded by the Light: Troilus&#039; Dawn Song and Christian Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[The dawn song in TC (3.1415-1526) stresses &quot;contrast between the mundane love of the two lovers and the heavenly love associated with the dawn and the light in a Christian context.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267035">
    <dcterms:title><![CDATA[Blood and Rosaries : Virginity, Violence, and Desire in Chaucer&#039;s &#039;Prioress&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although women and Jews were &quot;equivalent others&quot; in medieval orthodoxy, the doctrine of Mary&#039;s perpetual virginity enabled the Church to sever the &quot;historical ties between Christianity and Judaism&quot; and to &quot;exalt itself as a fixed and timeless institution.&quot; PrT reflects its narrator&#039;s frustration with her constrained role in the Church, contributing simultaneously to the Church&#039;s claim to absolute truth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272463">
    <dcterms:title><![CDATA[Blood and Tears as Ink: Writing the Pictorial Sense of the Text]]></dcterms:title>
    <dcterms:description><![CDATA[Looks at &quot;late medieval texts in which writing functions both verbally and pictorially,&quot; such as texts of the Passion, in which red ink in the manuscript creates a picture of Christ&#039;s blood, mentioned in ABC. TC similarly describes tearful verses, and Oxford, Bodleian Library MS Arch. Selden B.24, reflects that weeping with eyes and faces. Also addresses the botanical metaphor in &quot;The Four Leaves of the Truelove.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277532">
    <dcterms:title><![CDATA[Blood Cries Out: Negotiating Embodiment and Otherness in the Premodern World.]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses &quot;medieval and early modern literary uses of blood symbolism to describe and represent these marginalized groups: Christ, women, Jews, and disabled persons.&quot; Chapter 4 considers &quot;the concepts of ritual murder libel, blood libel, and Jewish male menstruation&quot; in PrT, Shakespeare&#039;s &quot;The Merchant of Venice,&quot; and Marlowe&#039;s &quot;The Jew of Malta.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>