<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/272636">
    <dcterms:title><![CDATA[Canterbury Tales: A Participation Play for Children 9 and Up]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record states that this drama for children was &quot;Created through improvisation by the Looking Glass Theatre, Providence, R.I.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276839">
    <dcterms:title><![CDATA[Canterbury Tales: An Opera in Four Acts.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. YouTube demo (accessed May 21, 2024) indicates that this opera includes an overture and adaptations of four portions of CT: FranT (&quot;For All the Rocks Off Brittany&quot;), PardT (&quot;Une Danse Macabre&quot;), WBT (&quot;What All Women Want&quot;), and MerT (&quot;That Pesky Itch&quot;).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270350">
    <dcterms:title><![CDATA[Canterbury Tales: Chaucer Made Modern]]></dcterms:title>
    <dcterms:description><![CDATA[Modern English, two-act drama that presents abbreviated, modified versions of KnT, RvT, CkT (a song), WBT, NPT, PardT, MerT, and MilT, framed as an annual tale-telling contest rather than a pilgrimage.  The Miller and the &quot;M.C.&quot; are focal characters in the frame and the production.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271248">
    <dcterms:title><![CDATA[Canterbury Tales: Chaucer&#039;s World in Words and Music]]></dcterms:title>
    <dcterms:description><![CDATA[Extracts from GP in modern English translation (J. U. Nicolson, trans.), &quot;intermingled with atmospheric music of the period: songs, dances and instrumental pieces&quot; (cover notes).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276751">
    <dcterms:title><![CDATA[Canterbury Tales: General Prologue, 526; The Wife of Bath&#039;s Prologue, 435: &quot;Spiced Conscience.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that &quot;spiced conscience&quot; in GP (1.526) means &quot;peppery&quot; moral indignation; &quot;sweet, spiced conscience&quot; in WBP (3.435), a &quot;bland, gentle disposition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272707">
    <dcterms:title><![CDATA[Canterbury Tales: Notes]]></dcterms:title>
    <dcterms:description><![CDATA[Study guide to the CT, with summaries of and commentaries on the GP, the links, and all of the tales. Includes brief introductions to Chaucer&#039;s life, world, language, and development as a poet, along with passages from critics. Reprinted recurrently, with selective bibliographies. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274509">
    <dcterms:title><![CDATA[Canterbury Tales: Notes.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes a chronology of Chaucer&#039;s life and works, a discursive &quot;Sketch of His Life and Times,&quot; a description of his language, summaries and commentaries on all of CT (in Ellesmere order), a list of the pilgrims with brief characterizations, descriptions of themes and techniques, twenty-two questions for &quot;Examination and Review,&quot; and a brief bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273227">
    <dcterms:title><![CDATA[Canterbury Tales: Original Broadway Cast]]></dcterms:title>
    <dcterms:description><![CDATA[Sound recording of musical stage play, with music by Richard Hill and John Hawkins, and lyrics by Nevill Coghill. The cast includes George Rose, Hermione Baddeley, Martyn Green, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273226">
    <dcterms:title><![CDATA[Canterbury Tales: Original London Cast]]></dcterms:title>
    <dcterms:description><![CDATA[Sound recording of the &quot;Smash Hot Musical Play,&quot; with music by Richard Hill and John Hawkins, lyrics by Nevill Coghill, and the &quot;Full Cast&quot; of the stage production, including Wilfrid Brambell, Jessie Evans, Kenneth J. Warren, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276876">
    <dcterms:title><![CDATA[Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record notes that &quot;This edition is based on the second edition of The complete works of Geoffrey Chaucer, edited by<br />
the Rev. Walter W. Skeat, 1900 (Oxford),&quot; with a &quot;new introduction.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275651">
    <dcterms:title><![CDATA[Canterbury Trails: Walking with Immigrants, Refugees, and the Man of Law.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the pedagogical value of teaching MLT alongside modern narratives &quot;that emphasize the ways Custance represents and evokes the displaced and powerless,&quot; including students&#039; personal experiences; &quot;Refugee Tales,&quot; edited by David Herd; a US federal law case about human trafficking; and Sonia Nazario&#039;s &quot;Enrique&#039;s Journey.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272639">
    <dcterms:title><![CDATA[Canterbury-Erzählungen]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record indicates this is a translation of CT into German, with illustrations by Otto Kaul adapted from early models.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270137">
    <dcterms:title><![CDATA[Canterbury, la cathédrale où Chaucer n&#039;arrive jamais . . . Mais est-ce bien sûr?]]></dcterms:title>
    <dcterms:description><![CDATA[Explores implications of the fact that the pilgrims never arrive at their destination in CT, commenting on late medieval travel and pilgrimage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270758">
    <dcterms:title><![CDATA[Canterbury: A Medieval City]]></dcterms:title>
    <dcterms:description><![CDATA[A collection of essays by various authors on the cultural history of Canterbury. For three essays that pertain to Chaucer, search for Canterbury: A Medieval City under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270773">
    <dcterms:title><![CDATA[Canterbury: The Cathedral Chaucer&#039;s Pilgrims Never Reached--or Did They?]]></dcterms:title>
    <dcterms:description><![CDATA[Regards the process of reading as the essential pilgrimage of CT, which obviates the need for an arrival at Canterbury. For previously published version, in French, see &quot;Canterbury, la cathédrale où Chaucer n&#039;arrive jamais . . . Mais est-ce bien sûr?&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273951">
    <dcterms:title><![CDATA[Canterbury.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes late medieval literary production in the city of Canterbury and explores its literary affiliations, ummarizing its place in early English Christianity and the impact of Becket&#039;s martyrdom. Highlights works produced in Canterbury or written about it, including CT and &quot;The Tale of Beryn,&quot; aligning CT with the &quot;fraught and controversial nature&quot; of actual pilgrimages to Canterbury.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271792">
    <dcterms:title><![CDATA[Canterburyjske Povesti]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; listed in WorldCat as a Slovenian translation of CT, with notes and apparatus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276376">
    <dcterms:title><![CDATA[Canterburyjske Priče.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. Worldcat record indicates this is a translation of CT into Croatian.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272646">
    <dcterms:title><![CDATA[Canterburyjske Zgodbe [Canterbury Tales]]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record indicates that this is [selections from] CT, translated into Slovenian.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273896">
    <dcterms:title><![CDATA[Canterburyn Kertomuksia.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record indicates that this is a Finnish translation of Eleanor Fargeon&#039;s &quot;Tales from Chaucer&quot; [1959].]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275305">
    <dcterms:title><![CDATA[Canterburyn Tarinoita.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this translation of CT into Finnish is based on the 1908 modernization of Arthur Burrell, with an Introduction to the translation by Tauno Mustanoja. The illustrations by Edward Burne-Jones derive from the Kelmscott Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262725">
    <dcterms:title><![CDATA[Capability and Negative Capability in Chaucer&#039;s &#039;Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In modern reader reception, ClT produces either &quot;Paduan&quot; pity for Griselda or &quot;Veronese&quot; disbelief in woman so virtuous.  Schaum examines the &quot;negative capability&quot; needed in reader response because of the character of the GP Clerk, the manner of telling the tale, and the narrator&#039;s and Chaucer&#039;s own ambivalance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277373">
    <dcterms:title><![CDATA[Capaneus&#039;s Atheism and Criseyde&#039;s Reading in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Discloses the implications--some &quot;shocking&quot;--of recognizing Statius&#039;s &quot;Thebaid&quot; as the source of Criseyde&#039;s imagining of &quot;radical atheism&quot; in TC, IV.1408-11. Explicates resonances of Thebes/Trojan parallels evident elsewhere in the poem and in medieval Troy material more generally. Includes a summary of the development of source study of Theban material in TC from the nineteenth century to the present.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263171">
    <dcterms:title><![CDATA[Carnival and &#039;The Canterbury Tales&#039;: &#039;Only Equals May Laugh&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[CT shows extensive evidence of &quot;Carnival&quot; (Bakhtin) influence. GP, Miller, and Host show evidence of the carnivalesque approach to life.  The clerk, on the other hand, reasserts &quot;official values.&quot;  CT offers the first English model of secular and social freedom.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267342">
    <dcterms:title><![CDATA[Carnival Confession : The Archpoet and Chaucer&#039;s Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[In its carnivalized parody of the sacrament of confession, the &quot;calculated self-portrait&quot; of the Archpoet&#039;s &quot;Estuans intrinsecus&quot; foreshadows PardPT. Each speaker creates a &quot;mythopoeia of self&quot; by manipulating sacred topoi; the Pardoner draw his topoi from the tradition of preaching, ars praedicandi.]]></dcterms:description>
</rdf:Description></rdf:RDF>
