<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/274894">
    <dcterms:title><![CDATA[Wealth and Lordship in Late Medieval Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys literary depictions of economic ideals and economic abuses among the aristocracy in ParsT; Form Age; Wynnere and Wastoure&quot;; &quot;Piers Plowman&quot;; and works by Gower, Hoccleve, and Lydgate, focusing on the &quot;portrayal of lords and rulers, both as offenders and as ethical role models,&quot; and concluding that the writers were generally &quot;conservative commentators on economic ethics,&quot; reflecting Church teachings and nostalgia for an idealized, precommercial past.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274893">
    <dcterms:title><![CDATA[At the Crossroads: Intersections of Classical and Vernacular English Protest Literature in &quot;Pierce Penilesse.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of the influence of Chaucer&#039;s Purse and Thomas Hoccleve&#039;s &quot;La male regle&quot; on Thomas Nashe&#039;s &quot;Pierce Penilesse,&quot; examining the elements of comedy and &quot;moral uncertainty&quot; in Chaucer&#039;s poem and its &quot;accretion of polygeneric expectations,&quot; as well as its echoes of Ovid and impact on Hoccleve and Nashe. Available at https://upstart.sites.clemson.edu/Essays/protest/bennett_crossroads.xhtml.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274892">
    <dcterms:title><![CDATA[Adam Scriveyn and Chaucer&#039;s Metrical Practice.]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplifies how metrical phonology (&quot;the linguistic forms that fill out metre&quot;) supports A. S. G. Edwards&#039;s claim (in &quot;Chaucer and &#039;Adam Scriveyn,&#039; &quot; MÆ 81 [2002]) that Chaucer may not have written the lyric Adam. In line 3, &quot;longe&quot; and &quot;lokkes&quot; scan as monosyllables, but Chaucer&#039;s use of these and similar words is disyllabic elsewhere, and such disyllabic usage was for Chaucer &quot;virtually non-negotiable.&quot; Metrical evidence suggests fifteenth-century authorship, and the rime royal stanza suggests the era&#039;s &quot;nascent cult of Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274891">
    <dcterms:title><![CDATA[Niche Poetics: Institutional Solitude and the Lyric in Late Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the monastic ideal of &quot;contemplative solitude&quot; was an innovative resource in English literature between Richard Rolle and Robert Henryson. Maintains that Chaucer deployed it comically in HF and that, along with notions of Chaucer&#039;s exceptionality, it helped to shape the reception of Chaucer&#039;s lyrics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274890">
    <dcterms:title><![CDATA[Middle English Lyrics: Lyric Manuscripts 1200-1400 and Chaucer&#039;s Lyric.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates two &quot;networks of meaning&quot; within which to view late medieval English lyrics: the relationships among lyrics in manuscript collections (using &quot;network mapping software&quot;) and the relationships between embedded lyrics and &quot;narrative events&quot; in CT, PF, and BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274889">
    <dcterms:title><![CDATA[Making Myth Matter: Interrogating Narrative and Reconstructing Metanarrative in Classical Myth Adaptation.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes comments on Cassandra, Persephone, and Philomela as victims of &quot;acquaintance rape&quot; in Chaucer&#039;s works (TC, MerT, and LGW), treating his and other versions (classical, medieval, and modern) as adaptations of myths that create &quot;metanarratives that shame rape survivors and demean the violence of the rape act.&quot; Offers alternative ways of adapting these stories.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274888">
    <dcterms:title><![CDATA[Troy in the &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;role Troy played in medieval literary imagination&quot; as a foundation myth, and explores how the &quot;destinies of some of the major figures&quot; in TC are &quot;inextricably&quot; interwoven with that of Troy. Includes an abstract in English and in Chinese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274887">
    <dcterms:title><![CDATA[&quot;I se and undirstonde&quot;: Vision, Reason, and Tragedy in Late Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the medieval conception of sight (both as sense and as ingress of the seen to the soul) in TC and Malory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274886">
    <dcterms:title><![CDATA[Sleep and the Transformation of Sense in Late Medieval Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the permeable boundary between waking and sleep, sensation and dream, in Dante&#039;s &quot;Commedia,&quot; TC, and Machaut&#039;s &quot;Fontaine amoureuse.&quot; each sleep-scene drawing on Ovidian tales of transformation. Comments on Chaucer&#039;s adaptation in HF of Dante&#039;s golden eagle, and examines Pandarus&#039;s awakening in TC to the sound of a swallow/Procne, suggesting that the indeterminate nature of the waking reenacts Philomela&#039;s silence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274885">
    <dcterms:title><![CDATA[The Margins of the Scribe: Analysis of the Marginal Annotations in the Manuscripts of Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines marginal annotations in the surviving manuscripts of TC with the purpose of exploring both the reception of the poem and the role of the scribes in its textual transmission. The marginalia are analyzed not only from a textual, thematic, linguistic, and paleographical point of view, but also from the perspective of the copyists and their preferences when reading and annotating Chaucer&#039;s text, which contributes to understanding the profiles of these scribes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274884">
    <dcterms:title><![CDATA[Lyric Tactics: Poetry, Genre, and Practice in Later Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Asserts that Chaucer&#039;s inset lyrics in TC and LGW have a &quot;tactical&quot; quality that gives them flexibility and contingency. In TC, Antigone&#039;s song, using both English practices and French and Italian sources, demonstrates &quot;a tension between negotiation and [Petrarchan] absolutism&quot; that reflects the narrative&#039;s concern with &quot;individual and communal desires.&quot; In LGW, especially Prologue F, lyrics are integrated with exemplary narrative, giving lyric an ethical role and &quot;suspending [exempla&#039;s] &quot;drive toward closure.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274883">
    <dcterms:title><![CDATA[&quot;He in salte teres dreynte&quot;: Understanding Troilus&#039;s Tears.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the concept of &quot;manhod&quot; (3.428) in TC in relation to critical discussions of Troilus&#039;s masculinity, reading Troilus&#039;s emotions in light of late medieval literary and social conventions and arguing that Chaucer&#039;s experiment in emotion is neither conventional nor condemnatory: &quot;Troilus attempts to fashion a wholly original performance of masculinity in his loving of Criseyde.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274882">
    <dcterms:title><![CDATA[Medieval Authorship at Reason&#039;s End: The Roman de la Rose&#039;s Legacy of Misrule]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;Roman de la Rose&quot; &quot;initiates a literary tradition that understands reason to be in tension with and even antithetical to imaginative writing,&quot; examining in this light works by Chaucer (TC), Gower, Lydgate, and Hoccleve, exploring in them a &quot;writerly art based in misrule.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274881">
    <dcterms:title><![CDATA[&quot;Troilus and Criseyde&quot; in Modern Verse.]]></dcterms:title>
    <dcterms:description><![CDATA[Translates TC into modern English rhyme royal stanzas, with footnotes and occasional marginal glosses. The introduction (by Christine Chism, pp. vi-xxx) addresses the social contexts of the poem; anachronisms; Chaucer&#039;s audience; the frontispiece from Cambridge, Corpus Christi College, MS 61 (included in color as a cover); sources; and the presentation of Criseyde. Glaser&#039;s translator&#039;s preface (pp. xxxi-xxxviii) considers style and verse.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274880">
    <dcterms:title><![CDATA[&quot;Sum men Sayis . . .&quot;: Literary Gossip and Malicious Intent in Robert Henryson&#039;s &quot;Testament of Cresseid.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s idea of &quot;gossip&quot; in TC (and elsewhere), especially as it relates to literature and Criseyde&#039;s reputation, examining more extensively Henryson&#039;s emphasis on malice rather than idle speech and its relationship with &quot;literary notoriety&quot; in &quot;Testament of Cresseid.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274879">
    <dcterms:title><![CDATA[Lyric Form and the Charge of Forgetfulness in Medieval and Early Modern Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces &quot;the creative potentials of technologies of memory in the rise of English lyric poetry,&quot; focusing on Chaucer and Thomas Wyatt, and including assessment of how &quot;innovations of lyric form are introduced&quot; in TC &quot;at moments in which memory is most compromised&quot; and when Chaucer is &quot;most unhinged&quot; from his sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274878">
    <dcterms:title><![CDATA[Chaucer and the Art of Not Eating a Book.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the unequivocal hermeneutics of &quot;eating a book&quot;--i.e., internalizing the text of the Bible and its &quot;one true meaning&quot;--as depicted in the illustration of the Cloisters Apocalypse (Metropolitan Museum of Art, Cloisters Collection, MS 68.174) with the nondirective authorial stance depicted in Chaucer addressing the court audience in the TC manuscript, Cambridge, Corpus Christi College, MS 61. Identifies a number of instances of such nondirective strategies in Chaucer&#039;s poetry and comments on his uses of the Apocalypse in PrT and HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274877">
    <dcterms:title><![CDATA[Personification and Embodied Emotional Practice in Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of Sorrow in Rom, treating the poem as one that maps &quot;an imaginative space in which to represent (and perhaps also elicit) emotion, one that interweaves emotional with embodied, sensory experience,&quot; and one that may &quot;reflect the author&#039;s vision of how emotions work, particularly in relation to one another.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274876">
    <dcterms:title><![CDATA[Chaucer&#039;s Enigmatic Thing in &quot;The Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the enigmatic &quot;thing&quot; thrice referred to in PF is a &quot;structuring device&quot; but also a &quot;reflection on the process of translation, specifically Chaucer&#039;s translation of Boethius&#039;s &#039;Consolation of Philosophy&#039;.&quot; PF depicts &quot;translation as an activity inherently unstable and yet also productive.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274875">
    <dcterms:title><![CDATA[Censorship and Intolerance in Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers PF and other works in a discussion of how &quot;the roots of formal print censorship in England are to be found in earlier forms of intolerance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274874">
    <dcterms:title><![CDATA[&quot;Tu numeris elementa ligas&quot;: The Consolation of Nature&#039;s Numbers in &quot;Parlement of Foulys.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that Chaucer is &quot;expecting, indeed exploiting, the gap between the reception of a poem when it is heard socially and its afterlife as a text,&quot; when it is a different thing. Argues &quot;that a poem&#039;s form is itself a way of communicating ideas.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274873">
    <dcterms:title><![CDATA[&quot;There came a hart in at the chamber door&quot;: Medieval Deer as Pets.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys historical and literary evidence that deer were kept as pets in the Middle Ages, including discussion of deer parks and Nature&#039;s garden in PF, which &quot;Chaucer&#039;s audience would almost certainly have understood as a deer park.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274872">
    <dcterms:title><![CDATA[&quot;The lytel erthe that here is&quot;: Environmental Thought in Chaucer&#039;s &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that PF offers an &quot;innovative model of species uncertainty&quot; that aligns with posthumanist rejection of human specialness. The poem evokes and challenges the dualism of Scipio&#039;s dream, offering alternatives in the animism of the tree catalogue and the totemism of the avian hierarchy. None of the three ontologies stands authoritatively and their uncertainties are reinforced by the multisensory details of PF, the performability of the poem&#039;s ending, and the antirationalism of the dream vision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274871">
    <dcterms:title><![CDATA[&quot;The Pleasure of the Text&quot;: &quot;The Parliament of Fowls&quot; as the Site of Bliss for Chaucer and His Readers.]]></dcterms:title>
    <dcterms:description><![CDATA[Using concepts derived from Roland Barthes, argues that PF is both a &quot;text of pleasure with its reflection of courtly culture&quot; and a &quot;text of bliss with its unconcluded conclusion.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274870">
    <dcterms:title><![CDATA[The Myth of Philomela from Margaret Atwood to . . . Chaucer: Contexts and Theoretical Perspectives.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers four frame-tale versions of the Philomela story--Margaret Atwood&#039;s &quot;Nightingale&quot; in &quot;The Tent&quot; (2006), George Pettie&#039;s in &quot;A Petite Pallace of Pettie His Pleasure&quot; (1576), Chaucer&#039;s in LGW, and Gower&#039;s in &quot;Confessio Amantis&quot;--focusing on interactions among narrative point of view, frame structure, and metapoetics. Suggests that Chaucer&#039;s version may be seen as &quot;a self-aware game with his readership, and . . . as Chaucer&#039;s ironic commentary on moralizing conceptions of literature.&quot; Includes an abstract in English and in French.]]></dcterms:description>
</rdf:Description></rdf:RDF>