<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/270089">
    <dcterms:title><![CDATA[Celtic Influence in English? Yes and No]]></dcterms:title>
    <dcterms:description><![CDATA[Traces idiomatic usage of &quot;yes&quot; and &quot;no&quot; in responses to questions in the English language, comparing it with German usage to illustrate the influence of the Celtic, Brittonic language. Concludes by exploring roots of the English method of response in linguistic developments between Chaucer and Shakespeare resulting from increased contact between Anglo-Saxon and Brittonic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273604">
    <dcterms:title><![CDATA[Censorship and Intolerance in Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[As part of a consideration of censorship, subjects several works, including PF, to a hypothetical &quot;model of intolerance&quot; based on Abelard, Ockham, and John of Salisbury.]]></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/267971">
    <dcterms:title><![CDATA[Certaynly his noble sayenges can I not amende : Thomas Usk and Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Usk borrowed from TC for his Testament of Love, often using quotations to describe his spiritual love for Margarite. Usk is a kind of Pandarus (deceiving, flattering, and self-serving), and his employment as a clerk sheds light on the reception and understanding of Chaucer&#039;s poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271569">
    <dcterms:title><![CDATA[Challenging and Promoting Peace: The Politics of Chaucer&#039;s &#039;The Romaunt of the Rose&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the &quot;political implications&quot; of Rom as it reflects Chaucer&#039;s attitudes towards French during the Hundred Years&#039; War, suggesting that Chaucer may be &quot;resisting French literary culture.&quot; Also assesses Eustace Deschamps&#039; praise of Chaucer as a political move in bridging the English and French courts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275834">
    <dcterms:title><![CDATA[Challenging the Authority of Identity: The Spaces of Memory in Medieval English Romance.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;the creative challenges for memory in a selection of established romances such as Sir Gawain and the Green Knight, Sir Orfeo, Emaré, and King Horn, including those of Chaucer and Malory, along with lesser studied, longer romances such as William of Palerne, Ipomadon and Beves of Hamtoun.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263033">
    <dcterms:title><![CDATA[Challenging the Conventions of Dream Vision in &#039;The Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s use of sources, traditions, and images leaves his text too open-ended and ambiguous to admit of any single interpretative pattern for the &quot;matere&quot; of BD.  Diverse incidents of the poem are united by Chaucer&#039;s &quot;structural integrity,&quot; revealing a dialectic between his own artistic integrity and earlier traditions in English literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272537">
    <dcterms:title><![CDATA[Champ Semantique de l&#039;Erotique dans les &#039;Contes de Canterbury de Chaucer&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Quantitative linguistic analysis of the erotic language in CT, charting and analyzing various forms of usage and usage by individual pilgrims.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274360">
    <dcterms:title><![CDATA[Champier and the &quot;Altercatio Hadriani&quot;: Another Chaucer Analogue.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies an instance of the phrase &quot;Mulier est hominis confusio&quot; (cf. NPT7.3164) in Simphorien Champier&#039;s &quot;La Nef des Princes.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263141">
    <dcterms:title><![CDATA[Chance and Destiny in &#039;Troilus and Criseyde&#039; and the &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer painstakingly &quot;alerts&quot; his sources in Boethius and Boccaccio to &quot;emphasize the role of chance in the events of the narrative.&quot;  Mann explores relationships among chance, &quot;necessitee,&quot; and free will in TC and KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266378">
    <dcterms:title><![CDATA[Chancery English and the Wife of Bath&#039;s Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Computer-assisted analysis of forms of Chancery English in manuscripts of WBP indicates a drift toward standardizaiton, most striking in the change from &quot;swich&quot; to &quot;such.&quot;  Yet, the pull to the Chancery Standard is not always clear.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262283">
    <dcterms:title><![CDATA[Chancery Standard and the Records of Old London Bridge]]></dcterms:title>
    <dcterms:description><![CDATA[Presents a sketch of the development of the written trades and the connections among scriveners in the late Middle Ages.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268358">
    <dcterms:title><![CDATA[Changing Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the semantic and cultural background of the word &quot;elvysshe&quot; as applied to alchemy in CYT (8.751, 8.842). Like elves, alchemists were secretive, elusive, liminal figures, distrusted and associated with transformation. Though modern editors gloss &quot;elvysshe&quot; metaphorically, its literal sense is applicable, indicating Chaucer&#039;s disillusionment with the scientific potential of alchemy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274666">
    <dcterms:title><![CDATA[Changing Emotions in &quot;Troilus&quot;: The Crucial Year.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Chaucer&#039;s expansion in TC of the emotional range of Boccaccio&#039;s &quot;Il filostrato&quot; and focuses on Shakespeare&#039;s expansion and narrowing of Chaucer&#039;s poem in &quot;Troilus and Cressida&quot;: Shakespeare develops a &quot;generic range&quot; in the play that is as expansive as Part 1 of CT but, influenced by Robert Henryson&#039;s &quot;Testament of Cresseid,&quot; he undercuts Chaucer&#039;s depiction of love in TC, presenting its effects as diseased.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262612">
    <dcterms:title><![CDATA[Changing the Subject]]></dcterms:title>
    <dcterms:description><![CDATA[Language is enormously affected by social and historical forces, making our understanding of it apart from those forces difficult.  Comparison of Chaucer&#039;s HF with Pope&#039;s eighteenth-century &quot;imitation&quot; reveals two distinct, shaping grammars, which differ in three ways:  the speaking subject in time and space, the speaker&#039;s positioning in the acts of speech and writing, and the kinds of knowledge possible for such a subject in that position.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270193">
    <dcterms:title><![CDATA[Changing Times: The Mechanical Clock in Late Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Bradbury and Collette survey historical records and literary representations of clocks in works by Jean Froissart, Henry Suso, Philippe de Mézières, and Christine de Pizan. The article counters the notion that the mechanical clock caused a sudden shift from &quot;qualitative&quot; to &quot;quantitative&quot; time, showing instead that the clock was a figure for personal and political regulation. Multiple kinds of time in NPT invite readers to consider &quot;the extent to which Chaucer genuinely adheres to traditional ideas of qualitative time. . . .&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271641">
    <dcterms:title><![CDATA[Chantaclar e Partelote (The Nun&#039;s Priest&#039;s Tale)]]></dcterms:title>
    <dcterms:description><![CDATA[Friulian prose translation of NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270525">
    <dcterms:title><![CDATA[Chanticleer]]></dcterms:title>
    <dcterms:description><![CDATA[Adaptation of NPT for children, with color illustrations by Jane Bottomley]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270486">
    <dcterms:title><![CDATA[Chanticleer and the Fox]]></dcterms:title>
    <dcterms:description><![CDATA[NPT, adapted and illustrated for juvenile audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271325">
    <dcterms:title><![CDATA[Chanticleer and the Fox: A Chaucerian Tale]]></dcterms:title>
    <dcterms:description><![CDATA[An illustrated adaptation of NPT for children, with added characters and significant changes to the plot. Illustrated by Marc Davis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271349">
    <dcterms:title><![CDATA[Chanticleer and the Fox: A Play in One Act for Family Audiences Adapted from Chaucer&#039;s &quot;The Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Adaptation of NPT in Modern English pentameter verse, designed for staging by a cast of seven, with a brief introductory note for performance and stage directions. The frame-story characters are pilgrims who decide to &quot;dramatize the Fox and Chanticleer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273895">
    <dcterms:title><![CDATA[Chanticleer and the Fox. A Musical Play for Children. Based on the Nun&#039;s Priest&#039;s Tale from Chaucer&#039;s Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat records indicate that this is a vocal score for children&#039;s opera, with lyrics derived from the NPT by Peter Westmore.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274550">
    <dcterms:title><![CDATA[Chanticleer: A Comic Opera in One Act, on a Tale by Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Musical score that adapts NPT, with lyrics in Modern English. Libretto by M. C. Richards. Composed, with additional lyrics and vocal score by Seymour Barab.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277335">
    <dcterms:title><![CDATA[Chanticleer: Chaucer&#039;s Story.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record indicates that this is a &quot;picture book adaptation of the Nun&#039;s triest&#039;s tale from Chaucer&#039;s Canterbury tales.<br />
]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273383">
    <dcterms:title><![CDATA[Chanticleer.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record indicates that this is a series of songs, adapted from NPT, for &quot;unison or 2-part children&#039;s choir accompanied by violin, recorders, percussion, piano, and guitar.&quot; Duration: approximately 20 minutes.]]></dcterms:description>
</rdf:Description></rdf:RDF>