<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/274970">
    <dcterms:title><![CDATA[You und Thou: Studien zur Anrede im Englischen (Mit einem Exkurs über die Anrede im Deutschen.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes a section entitled &quot; Das Pronomen bei Chaucer&quot; (pp. 74-86) that examines Chaucer&#039;s artistic uses of the second person pronouns of address, focusing particularly on TC and including comments on WBPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274969">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner as Entertainer.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts medieval and modern charitable giving, indulgence granting, and false relics, and assesses the Pardoner as a &quot;professional collector,&quot; and &quot;high-pressure fund raiser,&quot; reading PardPT as &quot;an exposition&quot; of the Pardoner&#039;s &quot;fund-raising technique&quot; and his &quot;entertainment&quot; of the pilgrims. His &quot;benediction&quot; (6.916-18) at the end of his tale is &quot;honest,&quot; and his &quot;dig&quot; at the Host (6.941-45) offered as entertainment as well.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274968">
    <dcterms:title><![CDATA[Chaucer&#039;s Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes CT in &quot;outline form,&quot; divided into units (following the Ellesmere order) and interspersed with brief interpretive comments on background, genre, plot, and characters. Opens with a General Introduction to backgrounds and Chaucer&#039;s Life; closes with a survey of criticism, test questions, and suggestions for further reading. Also printed as The Canterbury Tales of Chaucer, published in the Monarch Notes and Study Guides series.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274967">
    <dcterms:title><![CDATA[Antecedents of the English Novel, 1400-1600: From Chaucer to Deloney.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys &quot;precursors of modern novels&quot; in English tradition between 1400 and 1600, with a &quot;glance&quot; at even earlier stories which &quot;reveal a kinship with the future narrative form,&quot; discussing, among others, TC, and treating it (pp. 28-40) as an adaptation of Boccaccio&#039;s &quot;Filostrato&quot; that resists classification even though it combines elements of &quot;society romance&quot; and &quot;comedy of manners.&quot;  Rich in style, dialogue, and especially characterization, it is a &quot;great sustained approximation to a modern novel.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274966">
    <dcterms:title><![CDATA[The Key of Remembrance: A Study of Chaucer&#039;s Poetics.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how &quot;the problems and operations of poetry and the poet are repeatedly raised into the consciousness of the reader&quot; of Chaucer&#039;s poetry, adding a &quot;peculiar dimension&quot; to engaging with his works by requiring a &quot;deliberate assent to their artifices&quot; while pursuing meaning and ethical concerns. Surveys the classical and medieval poetic and rhetorical traditions that &quot;provided Chaucer&#039;s fundamental assumptions about the nature of poetry,&quot; and examines LGWP as an &quot;account of the main issues in the Chaucerian poetic,&quot; similar to BD, HF and PF in being structurally &quot;combinative&quot; and a variation on the &quot;book-experience-dream formula.&quot; Treats CT as an unresolved series of experiments in form and style as means to convey and confront the &quot;problems&quot; and potentials of poetry, while TC is Chaucer&#039;s &quot;most nearly satisfactory solution&quot; to such concerns, offering &quot;almost endlessly expanding concentric ironies which constitute Chaucer&#039;s way of reconciling human wisdom with human limitation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274965">
    <dcterms:title><![CDATA[Later Medieval English Prose.]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes some sixty modernized examples and excerpts from late-medieval English prose writing, arranged by topic, form, or genre (e.g., Historians, Mystics, Religious Controversialists, etc.), with a brief introduction to each section. Includes a selection from Bo (pp. 191-200; Bo 5pr2-4) under &quot;Moral Philosophers&quot; and under &quot;Literary Critics,&quot; Ret (pp. 233-34) and William Caxton&#039;s &quot;Proem to the &#039;Canterbury Tales,&#039; 1484&quot; (pp. 234-36).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274964">
    <dcterms:title><![CDATA[Robert Henryson: Poems.]]></dcterms:title>
    <dcterms:description><![CDATA[Edits a selection of Robert Henryson&#039;s poetry, with appended critical notes and glosses, an Introduction, a Biographical and Textual Note, and a series of Appreciations by literary historians. The Introduction (pp. vii-xv) focuses on how and to what extent Henryson ought to be considered &quot;Chaucerian,&quot; emphasizing Henryson&#039;s independence, and providing points of comparison and contrast between the two poets. The critical notes include recurrent references to Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274963">
    <dcterms:title><![CDATA[Chaucer in His Time.]]></dcterms:title>
    <dcterms:description><![CDATA[Evokes the social and cultural conditions of England during Chaucer&#039;s lifetime by describing historical events, political circumstances, court life, domestic conditions for all classes, child-rearing, education and literacy, the influence of religious ideals and reforms, and more. Illustrates this discussion with wide-ranging details and examples from works by Chaucer and his contemporaries (especially Langland and Froissart), augmented by details and reproductions from medieval manuscripts, effigies, and architecture.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274962">
    <dcterms:title><![CDATA[Two Chaucer Notes: 1. Proper Names in the &quot;Canterbury Tales&quot;; 2. A &quot;Minced&quot; Oath in Sir Thopas.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the placement of proper names in the verse lines of Chaucer&#039;s CT, tabulating and commenting upon the total number of incidences of names and the numbers of their initial and terminal placements in the verse lines of twelve of the tales. Then comments on the mildness of the oaths of the protagonist in Th, consistent with his &quot;mock-heroic&quot; characterization.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274961">
    <dcterms:title><![CDATA[The Prioress&#039; Brooch and St. Leonard.]]></dcterms:title>
    <dcterms:description><![CDATA[Observes that as the patron saint of prisoners St. Leonard was associated iconographically with chains and fetters, and contends that this deepens the irony and ambiguity of the motto on the brooch of the Prioress in GP 1.162, where &quot;vincit&quot; carries the &quot;suggestion of bondage.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274960">
    <dcterms:title><![CDATA[Chaucer and Moliere: Kindred Patterns of the Dramatic Impulse in Human Comedy.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares MerT, MilT, and ShT with works by Moliére, arguing that Chaucer&#039;s &quot;dramatic impulse&quot; is clear in light of &quot;Comedy Proper,&quot; a dramatic form in which intellectual error leads to folly and just, comic punishment. Both writers succeed through the ability to depict characters with &quot;certain universal qualities common to all&quot; and lampoon them with &quot;biting, ironical, laugh-logged satire.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274959">
    <dcterms:title><![CDATA[Chaucer&#039;s Use of Jerome&#039;s &quot;Adversus Jovinianum,&quot; with an Edition of Book I, Chapters 40-49, Based on a Study of Medieval Manuscripts.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s knowledge of and uses of Jerome&#039;s &quot;Adversus Jovinianum&quot; in CT, as well as his references to the treatise and glosses to his manuscripts that quote it, focusing on the tales of the Marriage Group. Includes an edition of ten chapters of Book 1 Jerome&#039;s text, which influenced Chaucer most directly.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274958">
    <dcterms:title><![CDATA[&quot;A Round Tour of Yvoyre&quot; (&quot;The Book of the Duchess&quot;, 946).]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the description of Blanche&#039;s throat as a round ivory tower may &quot;carry on the idea&quot; of the Duchess being referred to as a &quot;fers,&quot; a chess piece, found elsewhere in the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274957">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;The Knight&#039;s Tale,&quot; A. 1810.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores proverbial implications of the variant readings of KnT 1.1810, &quot;than woot a cokkow or [var. of] hare,&quot; and suggests &quot;hare&quot; might be a pun on &quot;whore.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274956">
    <dcterms:title><![CDATA[&quot;Bihoold the Murye Wordes of the Hoost to Chaucer.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that &quot;popular superstition&quot; of &quot;ill-luck&quot; underlies the Host&#039;s reference to &quot;fynde an hare&quot; in Th-MelL 7.696, supported by his use of &quot;elvyssh&quot; at 7.703.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274955">
    <dcterms:title><![CDATA[Tradition and Moral Realism: Chaucer&#039;s Conception of the Poet.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Ret, the ending of TC, the claims of accurate reporting in GP 1.730-43, and Chaucer&#039;s comments on poetry and the rhetorical arts in HF, LGW, and PF, arguing that Chaucer&#039;s &quot;seems to have conceived of the poet&quot; as a &quot;moral realist&quot; who writes &quot;within the framework of his craft and his cultural tradition,&quot; a &quot;highly serious&quot; view of poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274954">
    <dcterms:title><![CDATA[Chaucer&#039;s Friar and the Man in the Moon.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies associations of the name &quot;Huberd&quot; (Hubert) with the Man in the Moon, the magpie, Cain, and theft, arguing that Chaucer&#039;s use of it for his Friar (GP 1.269) reveals the character&#039;s &quot;inherently evil nature&quot; and the &quot;incongruity&quot; of Chaucer&#039;s praise of him--a technique similar to his naming the Prioress &quot;Madame Eglentyne&quot; (GP 1.121).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274953">
    <dcterms:title><![CDATA[The Real &quot;Clerk&#039;s Tale&quot;; or, Patient Griselda Explained.]]></dcterms:title>
    <dcterms:description><![CDATA[Presents ClT as an &quot;elaborate academic joke,&quot; concerned primarily with proper submission to &quot;God&#039;s law,&quot; reading Griselda as &quot;pathetic rather than virtuous,&quot; satirized by the Clerk for submitting herself and (as she thinks) her children to Walter, who is cruel and sinful. The tale is a &quot;counterpiece&quot; to the WBPT and engages the other tales of &quot;Marriage Group,&quot; even though sovereignty in marriage in not the essential focus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274952">
    <dcterms:title><![CDATA[Venus, Chaucer, and Peter Bersuire.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers evidence that the &quot;Ovidius Moralizatus&quot; of Peter Bersuire (Petrus Berchorius) was the source of iconographical details associated with Venus in Chaucer&#039;s descriptions of the goddess in HF 131-39 and KnT 1.1955-66.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274951">
    <dcterms:title><![CDATA[Saint Jerome in Jankyn&#039;s Book of Wikked Wyves.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses medieval manuscripts that combine materials from Walter Map&#039;s &quot;Valerius,&quot; the &quot;golden book&quot; of Theophrastus, and excerpts from Jerome&#039;s &quot;Adversus Jovinianum,&quot; focusing on the seven manuscripts that include the latter two, and showing how Chaucer uses them, first, in WBP to characterize the Wife and Jankyn, and then, in FranT, to contrast the Wife with Dorigen, putting &quot;to shame the Wife of Bath&#039;s callousness, lasciviousness, and promiscuity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274950">
    <dcterms:title><![CDATA[Adam&#039;s Hell.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the juxtaposition of the accounts of Lucifer and Adam in the opening of MkT (7.1999-2014), surveying medieval theological and Old and Middle English literary traditions of Adam&#039;s time in hell or, alternatively, limbo, and arguing that Chaucer&#039;s version assumes that Adam&#039;s ages-long suffering was relieved by Christ&#039;s descent into hell after his crucifixion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274949">
    <dcterms:title><![CDATA[Poetic Justice in the &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;static portraiture&quot; in MilT establishes &quot;character traits precisely&quot; for the main characters so that the plot may &quot;punish&quot; these traits and convey &quot;comic moral justice.&quot; Explores connections between Carpenter John and Oswald the Reeve, between Robin, John&#039;s servant, and Robin the Miller, and between Alisoun and Alison of Bath, as well as viewing John, Absolon, and Nicholas as types of avarice, pride, and lechery, respectively.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274948">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Etas Prima.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets Form Age as a topical, even occasional, poem, rather than as a translation from Boethius, investigating its manuscript contexts, identifying echoes from Tibellius, Ovid, Jean de Meun, Eustace Deschamps, and Sted, and arguing that the poem was written late in Chaucer&#039;s life in response to his discontent with Richard&#039;s rule.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274947">
    <dcterms:title><![CDATA[Chaucer: Motive and Mask in the &quot;General Prologue.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in the GP Chaucer offers an &quot;analysis of social rank in terms of economic behavior,&quot; consistently evident in the descriptions where a &quot;pilgrim&#039;s characteristic behavior is defined in every case in terms of the acquisition and use of wealth&quot; and the order of the descriptions is &quot;a clear, socio-economic ranking based upon an analysis of the origins of income.&quot; Furthermore, the characters of the pilgrims are revealed ironically, not by &quot;depiction of personality,&quot; but by &quot;unmasking of self--the very inner self&quot;--of individual pilgrims.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274946">
    <dcterms:title><![CDATA[The Conclusion to Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that members of the &quot;School of Christian Interpreters&quot; err when seeing the transcendent ending of TC as implicit throughout the poem, and evaluates the actions of Troilus and Criseyde in terms of courtly love and the operation of Fortune, attributing perceived inconsistencies in the ending of the poem to be due to the narrator&#039;s &quot;lack of sophistication.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>