<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/274669">
    <dcterms:title><![CDATA[The Stone Wife: A Peter Diamond Investigation.]]></dcterms:title>
    <dcterms:description><![CDATA[A detective mystery in which a stone-tablet illustration of the Wife of Bath provokes the killing of a Chaucer professor during an auction. The story includes a putative portrait of Chaucer and surmises about his life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274668">
    <dcterms:title><![CDATA[Law, Chaucer, and Representation in Lydgate&#039;s &quot;Disguising at Hertford.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that in Lydgate&#039;s &quot;Disguising&quot; the wives&#039; use of Chaucerian &quot;performative and legalistic speech acts&quot; is set in evocative conflict with the &quot;theatricality of monarchical justice,&quot; arguing that Lydgate learned from Chaucer&#039;s WBPT how &quot;requital works as dramatic principle&quot; and how performative speech contests authority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274667">
    <dcterms:title><![CDATA[Tradition: A Feeling for the Literary Past.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the role of &quot;tradition in the literary imagination&quot; and the value of literature, particularly the &quot;value of close and nuanced reading for our understanding of both past and present.&quot; Includes discussion of George Orwell&#039;s engagement with Chaucer in &quot;1984&quot; and comments on orality and literacy in CT, especially MilP. Also assesses the &quot;problem of attention&quot; in CT, i.e., its consideration of audience attention in the making of meaning.]]></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/274665">
    <dcterms:title><![CDATA[&quot;Language in her eye&quot;: The Expressive Face of Criseyde/Cressida.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes Criseyde&#039;s &quot;speaking face&quot; in TC, along with similar depictions of suggestive facial beauty in BD, PhyT, and Shakespeare&#039;s &quot;Troilus and Cressida.&quot; Attends most closely to Criseyde&#039;s &quot;ascaunce&quot; look in TC 1.288-94.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274664">
    <dcterms:title><![CDATA[The Space of Desire in Chaucer&#039;s and Shakespeare&#039;s Troy.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies parallel concerns with privacy and erotic tension in TC and Shakespeare&#039;s &quot;Troilus and Cressida,&quot; both of which pose the closed space of the bedchamber against the pressures of crowdedness in Troy/London, gossip, and public observation. Suggests that the &quot;invention and execution&quot; of Shakespeare&#039;s depiction depend upon the &quot;restricted environment&quot; of Chaucer&#039;s poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274663">
    <dcterms:title><![CDATA[&quot;Potent Raisings&quot;: Performing Passion in Chaucer and Shakespeare.]]></dcterms:title>
    <dcterms:description><![CDATA[<p>Maintains that Chaucer in TC and Shakespeare in "Troilus and Cressida" present love as detached from history or topicality, depicting it through irresolvable plural discourses--Platonic, Petrarchan, courtly love-sickness, and more--and thereby "performing it aesthetically, without any particular truth value but its own."</p>]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274662">
    <dcterms:title><![CDATA[Arrogant Authorial Performances: Criseyde to Cressida.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in TC Criseyde is the &quot;embodiment of literary invention,&quot; enacting a &quot;poetological&quot; claim to fame, both humble and arrogant. Through his Cressida, Shakespeare presents a similar &quot;counter-authorship,&quot; one that reflects the playwright&#039;s engagement with the sixteenth-century &quot;Poets&#039; War.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274661">
    <dcterms:title><![CDATA[Gendered Books: Reading, Space and Intimacy in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates two crucial scenes of reading in TC--Criseyde&#039;s reading with her attendants in Book 2 and Pandarus&#039;s voyeuristic reading of a romance in the consummation scene--finding in their contrasts two opposed models of reading: one that &quot;privileges hermeneutic activity&quot; and the other that prefers &quot;affective immersion.&quot; Setting (&quot;paved parlour&quot; versus bedchamber), the meanings of &quot;romaunce,&quot; and the poem&#039;s &quot;intense familiarity&quot; with the story of Thebes complicate the gendered opposition of reading habits.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274660">
    <dcterms:title><![CDATA[The Presence of &quot;Troilus and Cressida&quot;: Shakespeare&#039;s Refurbishment of Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the presentations of interiority in TC and in Shakespeare&#039;s &quot;Troilus and Cressida&quot; as a basis for analyzing Shakespeare&#039;s vacating his play of chivalric principles.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274659">
    <dcterms:title><![CDATA[&quot;The Formless Ruin of Oblivion&quot;: Shakespeare&#039;s &quot;Troilus and Cressida&quot; and Literary Defacement.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the literary tradition of Troy as a war in which different versions of the story struggle to claim validity. Focuses on how Shakespeare seeks to &quot;deface and disable the entire tradition,&quot; rendering it &quot;unfit for any but the lowest human habitation&quot; by adapting elements that derive from the &quot;ephemera&quot; of Dares and Dictys and by &quot;breaking down the protected spaces&quot; of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274658">
    <dcterms:title><![CDATA[What&#039;s Hecuba to Him? Absence, Silence and Lament in &quot;Troilus and Criseyde&quot; and &quot;Troilus and Cressida.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Hecuba as a &quot;potent absent presence&quot; in Shakespeare&#039;s :&quot;Troilus and Cressida,&quot; and comments on the possible influence of LGW and TC on Shakespeare&#039;s &quot;Rape of Lucrece&quot; as well as his Trojan play. Includes attention to Dido and Penelope.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274657">
    <dcterms:title><![CDATA[Love, History and Emotion in Chaucer and Shakespeare: &quot;Troilus and Criseyde&quot; and &quot;Troilus and Cressida.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Includes twelve essays by various authors and an introduction by the editors on affect, periodization, queer history, and Chaucer&#039;s and Shakespeare&#039;s versions of the story of Troilus and Criseyde/Cressida. For nine essays that pertain to Chaucer, search for Love, History and Emotion in Chaucer and Shakespeare under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274656">
    <dcterms:title><![CDATA[&quot;What shal I calle thee? What is thy name?&quot; Thomas Hoccleve and the Making of &quot;Chaucer.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the &quot;moral version of Chaucer that emerges&quot; in Hoccleve&#039;s &quot;Regiment of Princes,&quot; arguing that it is a kind of poetic authority produced &quot;in the face of an increasingly militant and repressive English Church,&quot; and that, unlike other early versions of Chaucer, it reflects a growing international trend in Christianizing poetic predecessors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274655">
    <dcterms:title><![CDATA[Medieval Comic Relief: Cannibal Cow, Duck&#039;s Deck and Carry on Joan of Arc.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats three examples of eighteenth-century comic medievalism as the &quot;male adolescence of the Enlightenment&quot;: Henry Fielding&#039;s presentation of Arthurian material as &quot;farcically lascivious discourse&quot; in &quot;Tom Thumb,&quot; the &quot;pre-modern prurience&quot; of Voltaire&#039;s &quot;La Pucelle d&#039;Orleans,&quot; and Alexander Pope&#039;s sexualized adaptations of WBP and MerT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274654">
    <dcterms:title><![CDATA[Writing like a Fan: Fan Fiction and Medievalism in Paul C. Doherty&#039;s Canterbury Mysteries.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Paul C. Doherty&#039;s seven murder mysteries based on CT, exploring them as deeply allusive appropriations rather than adaptations, and theorizing how Chaucer-adept readers of this fan fiction can achieve Lacanian jouissance as well as pleasure. Comments on elements of fan fiction in Chaucer&#039;s own writing, and describes CT as a &quot;template&quot; for all multi-genre narratives that involve &quot;a group of strangers, travel, and storytelling.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274653">
    <dcterms:title><![CDATA[New Poet, Old Words: Glossing the &quot;Shepheardes Calender.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares and contrasts Immerito&#039;s and E. K.&#039;s attitudes toward language and archaism in Edmund Spenser&#039;s &quot;Shepheardes Calender,&quot; with particular attention to how the &quot;overly generous glossing&quot; of the text presumes a &quot;reader&#039;s familiarity with medieval verse, particularly that of Chaucer.&quot; Comments on Thomas Speght&#039;s approach to &quot;hard words&quot; in his 1598 edition of Chaucer&#039;s works, and includes illustrations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274652">
    <dcterms:title><![CDATA[Chaucer&#039;s Presence in &quot;Songes and Sonettes.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Chaucer&#039;s influence on &quot;Tottel&#039;s Miscellany,&quot; commenting on various allusions and the inclusion of Chaucer&#039;s Truth in the collection (although &quot;deliberately anonymized&quot;), and exploring more thoroughly how he is &quot;strongly resisted,&quot; i.e., how aspects of his work are suppressed, &quot;both actively and passively,&quot; particularly his &quot;variety of voice&quot; and &quot;his interest in female speech&quot; and &quot;female complaint.&quot; Includes comments on Ros, Anel, LGW, TC, and SqT, identifying how, where, and to what extent they are echoed--or not--in the &quot;Miscellany.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274651">
    <dcterms:title><![CDATA[Whan that Aprill.]]></dcterms:title>
    <dcterms:description><![CDATA[A short story that alludes to the opening of GP in its title, and includes a character who recites Chaucer and is interested in Chaucerian apocrypha.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274650">
    <dcterms:title><![CDATA[The Chaucer-Function: Spenser&#039;s Language Lessons in &quot;The Shepheardes Calender.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Spenser emulates Chaucer in &quot;furthering the project of language formation in English.&quot; Attending to Chaucer&#039;s model in CT (and to Richard Mulcaster&#039;s precepts), Spenser uses interactive speakers who have various dialects and lexicons to generate neologisms, and he thereby attains &quot;the reputation for language-formation in English that had built up around Chaucer over the previous two centuries.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274649">
    <dcterms:title><![CDATA[Lyric Poetry from Chaucer to Shakespeare.]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies a number of specific &quot;[i]nfluences, echoes, or borrowings from Chaucer in English poetic tradition as it developed between Henry Howard, earl of Surrey, and Shakespeare,&quot; mentioning familiar instances and adding ones previously unnoticed. Remarks that Chaucer &quot;may be the single most important influence&quot; on Shakespeare&#039;s works, and identifies a particularly large number of echoes in the Elizabethan collection &quot;A Hundreth Sundrie Flowres.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274648">
    <dcterms:title><![CDATA[Los aires de Antinoo.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes a thirteen-line poem entitled &quot;Chaucer&quot; (p. 15).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274647">
    <dcterms:title><![CDATA[Bride-habited, but maiden-hearted&#039;: Language and Gender in &quot;The Two Noble Kinsmen.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that the list of hard words included in Thomas Speght&#039;s 1602 edition of Chaucer&#039;s &quot;Werkes&quot; influenced the linguistic inventiveness of Shakespeare and Fletcher&#039;s &quot;Two Noble Kinsmen.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274646">
    <dcterms:title><![CDATA[A Tale of Two Wives: The Transnational Poetry of Patience Agbabi and Jean &quot;Binta&quot; Breeze.]]></dcterms:title>
    <dcterms:description><![CDATA[Uses postcolonial theory to argue that Agbabi and Breeze &quot;interrogate the borders of British poetry and its &#039;modernity,&#039;&quot; by capitalizing on the &quot;subversive elements already present&quot; in WBPT, &quot;from the subtle irony and the crafty use of the &#039;vernacular&#039; to the foregrounding of female empowerment.&quot; The two &quot;contemporary revisions of the canon mirror an intertextual, transnational practice that was already widely present in the Middle Ages.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274645">
    <dcterms:title><![CDATA[Nostalgic Temporalities in &quot;Greenes Vision.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes how Chaucer and John Gower appear as two poets/storytellers in &quot;Greenes Vision&quot; (1592), offering &quot;authorization and legitimization&quot; to Robert Greene&#039;s work &quot;within a specifically English tradition,&quot; colored by &quot;ambivalent nostalgia for an idealised literary past.&quot; Comments on Greene&#039;s possible knowledge of Ret, on his possible familiarity with portraits of Chaucer and Gower, and on &quot;The Cobbler of Canterbury&quot; as a &quot;burlesque&quot; of CT.]]></dcterms:description>
</rdf:Description></rdf:RDF>
