<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/270726">
    <dcterms:title><![CDATA[Brueghel&#039;s Heavy Dancers: Transgressive Clothing, Class, and Culture in the Late Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the iconography of nonaristocratic, nonclerical dress in late medieval literature and art. Considers aspects of dress as they distinguished peasants and gentry in the Old French pastourelle and its descendant, the bergerie, and follows this legacy into more sharply satiric German mock pastourelles and social satires, influenced by fabliaux. Examines &quot;transgressive&quot; details of dress and physiognomy in Chaucer&#039;s GP description of the Miller, Alisoun of MilT, Symkyn of RvT, and the Squire&#039;s Yeoman of GP, focusing on indications of class, social aspiration, and urban/rural opposition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269658">
    <dcterms:title><![CDATA[Brunhilde on Trial: Fama and Lydgatean Poetics]]></dcterms:title>
    <dcterms:description><![CDATA[Lydgate&#039;s poetic trial of Brunhilde indicates a conviction that poets have a central role in shaping and transmitting &quot;fama.&quot; In sharp contrast, Chaucer depicts fama as a function of &quot;aventure&quot; in HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274642">
    <dcterms:title><![CDATA[Brush Up Your Chaucer (from Kiss Me, Tommy!).]]></dcterms:title>
    <dcterms:description><![CDATA[Parodies Cole Porter&#039;s lyrics in &quot;Brush Up Your Shakespeare,&quot; using Chaucerian topics and emphases; purportedly composed for a conference of the New Chaucer Society.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265826">
    <dcterms:title><![CDATA[Buch, Autor, und Leser bei Chaucer und Lawrence]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the life of Chaucer with that of D. H. Lawrence, focusing on their corresponding views about books, authors, and authorship.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269791">
    <dcterms:title><![CDATA[Building a Better Introduction to a Medieval English Literature Course]]></dcterms:title>
    <dcterms:description><![CDATA[Advice to instructors teaching undergraduate-level introductions to medieval English, including strategies for avoiding &quot;Chaucer fatigue.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277469">
    <dcterms:title><![CDATA[Building a Goddess: Personifications of Fame from Hesiod to Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats Fame&#039;s dual nature as goddess and personification in Hesiod, Aeschines, Virgil, and HF. While Chaucer&#039;s character echoes the duality of its predecessors, she is not a goddess--&quot;never characterized as a bride or daughter of the Christian God&quot;--but Chaucer uses &quot;Neoplatonic vocabulary . . . to signal that Fame should be understood as having real as well as rhetorical power,&quot; dispersing &quot;tydyngs&quot; in a context that is recognizably &quot;late-fourteenth-century London.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275123">
    <dcterms:title><![CDATA[Building Bridges in Canterbury.]]></dcterms:title>
    <dcterms:description><![CDATA[Combines ecocriticism and mobility studies to address the &quot;medieval bridge as an icon of hybridity: a cultural artifact that commingles human/animal movement, architectural stasis, and the natural world (blood, stone, and water).&quot; Then explores how the pilgrimage motif and the &quot;literal and metaphorical bridges&quot; in the frame narrative of CT suggest &quot;an emerging category of geographically-determined identity in the fourteenth century&quot; that is dialectical and &quot;fundamentally hybrid.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265529">
    <dcterms:title><![CDATA[Building Class and Gender into Chaucer&#039;s &#039;Hous&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[An analogy between gender and class applied to HF reveals that Lady Fame assumes a typical paternal role in naming the tidings that exit the House of Rumor.  Although Chaucer&#039;s source is Ovid, he divides Fame&#039;s house along strict class lines--the house of twigs and the palace--suggesting that the poem&#039;s &quot;historical conflicts ... are reflected in its own contradictions&quot; and that &quot;gender and class ... unite.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267685">
    <dcterms:title><![CDATA[Bulldozing the Middle Ages : The Case of &#039;John Lydgate&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the reception of Lydgate, especially his &quot;Dance Machabré&quot;, and argues that the poet has been victimized by &quot;&#039;ageist&#039; conceptions of cultural change&quot; that seek to reify &quot;the medieval.&quot; Lydgate&#039;s stature as the most public of English poets has served him poorly in reception history, but this realization enables us to reclaim him. Recurrent contrast with reception of Chaucer and his works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269941">
    <dcterms:title><![CDATA[Bulles, Coillons, and Relics in The Pardoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The Host&#039;s retort to the Pardoner at the close of PardT reinforces a connection between the terms and concepts of testicles (false or otherwise) and relics (false or otherwise). A trilingual collection (French, Latin, and English) of terms along with allusions to the &quot;Roman de la Rose&quot; reinforce Chaucer&#039;s critique of the Pardoner and his enterprise.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270411">
    <dcterms:title><![CDATA[Bürgerliches bei Chaucer: Mit einer Skizze des Spätmittelalterlichen London]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how and to what extent Chaucer&#039;s experiences in trade and in civil life affected his literary concerns and style, considering his &quot;realism&quot; as it is depicted in passages from GP, ShT, CYT, and MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267171">
    <dcterms:title><![CDATA[Burne-Jones et le Moyen Âge]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer and Malory haunted the imagination of Burne-Jones, who illustrated the Kelmscott edition of Chaucer&#039;s Works (1896). Burne-Jones ignored the licentious tales, but he expressed the classical/medieval spirit of TC. He was attracted by the scene of the &quot;grain&quot; miracle in PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268054">
    <dcterms:title><![CDATA[But What Does the Fleming Say?: The Two Flemish Proverbs and their Contexts in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[The Flemish proverbs in CkP and ManT &quot;trigger a whole series of contradictions and reversals of meaning that mirror the complexity of Chaucer&#039;s comedy.&quot; They also contribute to a pattern in CT in which Flemings are associated with misused language.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272973">
    <dcterms:title><![CDATA[By Mouth of Innocentz: The Prioress Vindicated]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the tone and details of PrT as consistent with the characterization of the Prioress established in GP. A &quot;ful&quot; large woman fixated on immaturity and smallness, the Prioress admires motherhood and empathizes with the innocence of the clergeon, effectively using strong emotional appeals to evoke empathy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265011">
    <dcterms:title><![CDATA[By Preeve Which That is Demonstratif]]></dcterms:title>
    <dcterms:description><![CDATA[Contrary to Kittredge&#039;s view that FrT and SumT are &quot;merely comic interludes&quot; in the marriage group, the Prologues and Tales of the Wife, Friar, and Summoner share a common concern, the debate on &quot;experience&quot; vs. &quot;auctoritee.&quot;  In questions of marriage or theology, &quot;experience&quot; prevails.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274619">
    <dcterms:title><![CDATA[By the Will of the King: Majestic and Political Rhetoric in Ricardian Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines CT and Gower&#039;s &quot;Confessio Amantis&quot; as part of an imaginative reaction to the political circumstances following the Second Barons&#039; War, arriving at a new role in &quot;speaking to and for&quot; the Henrician community.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274830">
    <dcterms:title><![CDATA[c. 1390: England. Rain Check.]]></dcterms:title>
    <dcterms:description><![CDATA[Reprints Nevill Coghill&#039;s modern translation of Mk 7.2727-66 (Croesus), included here among a variety of literary samples and commentaries on the theme of luck.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271874">
    <dcterms:title><![CDATA[C. David Benson: Progress Report]]></dcterms:title>
    <dcterms:description><![CDATA[Celebrates the character and career of C. David Benson, surveying his publications and professional activities.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270471">
    <dcterms:title><![CDATA[C. S. Lewis, Courtly Love, and Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes C. S. Lewis&#039;s formulation of courtly love and applies it to TC, arguing that Chaucer exaggerates certain of its features to show its &quot;weaknesses&quot; (particularly through humor, Pandarus, and the narrator) and to replace it with divine love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270406">
    <dcterms:title><![CDATA[C. S. Lewis: A Celebration of his Early Life]]></dcterms:title>
    <dcterms:description><![CDATA[This appreciative biography uses &quot;Chaucer Knight&quot; as the title of chapter sixteen, deriving the appellation from a memorial in the &quot;Cambridge Review&quot; on the occasion of Lewis&#039; death.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274805">
    <dcterms:title><![CDATA[C. S. Lewis&#039;s Problem with &quot;The Franklin&#039;s Tale&quot;: An Essay Written in the Seventieth Anniversary Year of &quot;The Allegory of Love.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores why C. S. Lewis chose not to discuss FranT in his &quot;Allegory of Love,&quot; arguing that Lewis made the decision because he wanted to attribute the &quot;final defeat of courtly love by the romantic conception of marriage&quot; to Edmund Spenser in his &quot;Faerie Queene.&quot; However, FranT was a &quot;transmutation&quot; of courtly love into marriage 200 years before Spenser wrote.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277068">
    <dcterms:title><![CDATA[Cadre et encadrement. Pour une approche politique du récit enchâssé: Des recueils de contes médiévaux au cinéma contemporain (le &quot;Pañcatantra,&quot; Somadeva, Boccaccio, Chaucer, Pasolini, Gomes).]]></dcterms:title>
    <dcterms:description><![CDATA[Theorizes &quot;the consequences of political discourse on bodies&quot; in literary and cinematic frame-narratives, including discussion of CT, along with the &quot;Pañcatantra,&quot; the &quot;Vetala&quot; of Somadeva, Boccaccio&#039;s &quot;Decameron,&quot; Pier Paolo Pasolini&#039;s &quot;Trilogy of Life,: and Miguel Gomes&#039;&#039;s &quot;Arabian Nights.&quot; Includes an abstract in English and in French]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266563">
    <dcterms:title><![CDATA[Cain, Nimrod, and the Erotics of Wandering in Late-Medieval Narrative]]></dcterms:title>
    <dcterms:description><![CDATA[In medieval literature, the sins of Cain and Nimrod acquired sexual overtones associated with wandering.  Warner assesses in this light the &quot;Alliterative Morte Arthure,&quot; Dante, Abelard, Langland and NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273949">
    <dcterms:title><![CDATA[Calais.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the late-medieval literary affiliations of the city of Calais, emphasizing its role in the Hundred Years War and commenting on allusions to the city, noting that Chaucer knew the city personally but &quot;mapped its spaces&quot; (in the GP description of the Squire) without direct reference or allusion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277726">
    <dcterms:title><![CDATA[Calchas in the Early Versions of the Troilus Story.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;treatment&quot; Calchas &quot;receives in four successive versions of the Troilus story: Benoit de Ste. Maure&#039;s &#039;Roman de Troie&#039; (c. 1155), Guido de Columnis&#039; &#039;Historia Destructionis Troiae&#039; (1287), Boccaccio&#039;s &#039;Il Filostrato&#039; (1336),&quot; and Chaucer&#039;s&quot; TC. Compares and contrasts details of the plots and characterizations to evince &quot;a steady deterioration of Calchas’ character&quot; and his importance in the story. Though generally paralleling Boccaccio&#039;s version in respect to Calchas, Chaucer notably deviates from it by lessening the &quot;bitter hatred&quot; Calchas&#039; daughter holds for him.]]></dcterms:description>
</rdf:Description></rdf:RDF>