<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/267443">
    <dcterms:title><![CDATA[Chaucer After Smithfield : From Postcolonial Writer to Imperialist Author]]></dcterms:title>
    <dcterms:description><![CDATA[Reads CT as a &quot;decolonizing project&quot; and a &quot;narrative of nationhood&quot; whereby Chaucer resisted Richard II&#039;s renewed attachment to French culture and took steps to invent English society. Assesses how several issues in CT reflect English postcolonial separation from France through assertions of England&#039;s cultural imperialism. Discusses history, language and dialect, the role of London, and the themes of bourgeois love and acquisitiveness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267857">
    <dcterms:title><![CDATA[Chaucer After the Linguistic Turn : Memory, History, and Fiction in the Link to Melibee]]></dcterms:title>
    <dcterms:description><![CDATA[Jones considers language and its ability to represent reality in Th-MelL, arguing that unlike post-structuralist thinkers (such as Richard Rorty), Chaucer retains the &quot;traditional distinction between history and fiction&quot; even while cognizant of their overlappings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276721">
    <dcterms:title><![CDATA[Chaucer Allusions: 1619-1732.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies previously unrecorded allusions to Chaucer, most of them reflecting his &quot;reputation as a religious leader and reformer,&quot; some based on works attributed to him falsely.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264801">
    <dcterms:title><![CDATA[Chaucer Allusions: Addenda to Spurgeon]]></dcterms:title>
    <dcterms:description><![CDATA[Unnoted allusions to Chaucer (and pseudo-Chaucer) in thirteen sixteenth-century works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262871">
    <dcterms:title><![CDATA[Chaucer Aloud: The Varieties of Textual Interpretation]]></dcterms:title>
    <dcterms:description><![CDATA[Concerned with textual ambiguity and flexibility in oral performance, Bowden compares varying interpretations of passages from CT.  Pedagogical interpretative slant.]]></dcterms:description>
    <dcterms:description><![CDATA[Accompanied by a cassette.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264323">
    <dcterms:title><![CDATA[Chaucer Among the Gods: The Poetics of Classical Myth]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the ways in which Chaucer uses classical materials in comedy, tragedy, and allegory; in theme, action, and character, to make available the world of Virgil, Ovid, and Lucan--sometimes through Dante, Graunson, Boccaccio, and Froissart.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264085">
    <dcterms:title><![CDATA[Chaucer Among the Victorians]]></dcterms:title>
    <dcterms:description><![CDATA[Significant Victorian writers, concerned with social problems as encountered in the past as well as in their own day, revolutionized Chacuer&#039;s reputation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276503">
    <dcterms:title><![CDATA[Chaucer among the Victorians.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the &quot;growing fascination&quot; with Chaucer, his language, and his works in the nineteenth and early twentieth century, linking it with the cultural imagining of Chaucer &quot;as a predecessor to&quot; Victorian &quot;preferred aesthetics, ideologies, and mentalities.&quot; Surveys materials from &quot;antiquarians and gentlemen scholars,&quot; professional medievalists, and the &quot;strong interest&quot; among the public reflected in adaptations, translations, bowdlerizations, children&#039;s versions, and &quot;Penny Dreadfuls.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263863">
    <dcterms:title><![CDATA[Chaucer an Englishman Elusively Italianate]]></dcterms:title>
    <dcterms:description><![CDATA[Italian poetry influenced Chaucer&#039;s style and technique, especially his use of cadence and rhythm.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271947">
    <dcterms:title><![CDATA[Chaucer and &#039;Adam Scriveyn&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the diction of &quot;Adam&quot; indicates that it was not written by Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265106">
    <dcterms:title><![CDATA[Chaucer and &#039;Arnald of the Newe Town&#039;: A Reprise]]></dcterms:title>
    <dcterms:description><![CDATA[The source of CYT 1431 is not, as Chaucer says, the &quot;Rosarium&quot; of Arnald of Villa Nova, but his lesser known &quot;De secretis naturae.&quot;  Chaucer cited the more famous &quot;Rosarium&quot; but quoted from &quot;De secretis&quot; because it contains appropriately mystifying language and quotes Hermes Trismagistis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261648">
    <dcterms:title><![CDATA[Chaucer and &#039;Courtly Love&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In KnT, neither the narrator nor the characters comprehend the ideal of courtly love.  In BD, Chaucer depicts it fully; in TC, he reveal its weakness when confronted with reality.  FranT reflects a bourgeois distortion of courtly love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262856">
    <dcterms:title><![CDATA[Chaucer and &#039;Gentilesse&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Gentilesse&quot; for Chaucer implied honor or &quot;good name,&quot; as well as good words and deeds.  His ideas on the concept are rooted in the classics and in Christianity but also look forward to the humanists.  FranT is probably nearer to a last word on this than is ParsT.  Treats CT and Gent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273216">
    <dcterms:title><![CDATA[Chaucer and &#039;Les Cronicles&#039; of Nicholas Trevet]]></dcterms:title>
    <dcterms:description><![CDATA[Adduces details from MLT, PardT, Anel, SqT, FranT, Purse, MkT, and PhyT to show that Chaucer was influenced, not only by Trevet&#039;s Constance narrative, but by his &quot;Cronicles&quot; more broadly.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264956">
    <dcterms:title><![CDATA[Chaucer and &#039;Pite&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Pite&quot; and its synonym &quot;routhe&quot; occur almost always in their original erotic context in Chaucer&#039;s earlier works: Pity, TC, PF, and FranT.  It may be equated with &quot;generous self-sacrifice&quot; on the part of the lover.  As Chaucer broadens the concept, there emerge comic and serious uses, as in the MilT and the KnT, but &quot;pite&quot; retains its connections with love, which remains fundamental to its understanding.]]></dcterms:description>
    <dcterms:description><![CDATA[It becomes a quality of mind desirable in the ideal knight and Christian.  Chaucer the poet exhibits &quot;pite&quot; himself and the concept is at the core of such &quot;pitous&quot; tales as that of Griselda, where the conventions and assumptions associated  with it are difficult for the modern reader to accept.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272302">
    <dcterms:title><![CDATA[Chaucer and &#039;Sir Thopas&#039;: Irony and Concupiscence]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the characterization of Chaucer&#039;s pilgrim-narrator in CT, focusing on the scene in ThP where the Host requests a tale from this narrator and exploring the ironies of the Host&#039;s expectations, the readers&#039; knowledge of earlier Chaucerian personae, echoes of Dante&#039;s &quot;Purgatorio&quot; and &quot;Inferno,&quot; sexual imagery in the tale of Thopas, and the shift to the tale of Melibee. The Th-Mel sequence satirizes the Host&#039;s expectations and those of the reader.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265130">
    <dcterms:title><![CDATA[Chaucer and &#039;Stewart&#039;s&#039; Pandarus and the Critics]]></dcterms:title>
    <dcterms:description><![CDATA[Although Pandarus did not appear in literature until Boccaccio&#039;s &quot;Il Filostrato,&quot; 1336, by 1440 his name had degenerated into a common noun in English.  This rapid development argues against the dualism and complexity modern critics find in him.  The complicated Pandarus first appears in a poem by William(?) Stewart written in 1568 to parallel Henryson&#039;s &quot;Testament.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272206">
    <dcterms:title><![CDATA[Chaucer and &#039;The Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Evaluates LGW as a series of brief narrative poems, assessing LGWP as an account of Chaucer&#039;s experiment with choosing a new subject matter for poetry (one that is &quot;essentially alien to the code of courtly love&quot;) and gauging the importance of the larger poem in Chaucer&#039;s artistic development. Comments upon the aesthetic success of each legend, focusing on narrative techniques, stylistic highlights, and adaptations of source materials (especially Ovid); also gauges the quality of the integration of theme and technique, favoring brevity, unity, feeling or sentiment rather than moralism, and dramatic impact over embellishment. Concludes with an excursus that dismantles the traditional notion that Chaucer abandoned LGW out of boredom or weariness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264658">
    <dcterms:title><![CDATA[Chaucer and &#039;The Parliament of Fowls&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[A discussion of the characteristics of Nature in PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261632">
    <dcterms:title><![CDATA[Chaucer and &#039;Tragedy&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the performative rather than formal aspects of tragedy in Chaucer, surveying contemporary use of the term and Chaucer&#039;s projections of his narrative personae as tragedians in TC, LGW (Philomene), MkT, and PhyT.  Notes the incompatibility of tragedy and Christianity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276534">
    <dcterms:title><![CDATA[Chaucer and &quot;Beowulf&quot; in Germany and the Survival of International Medieval Studies.]]></dcterms:title>
    <dcterms:description><![CDATA[Contemplates &quot;Medieval English Studies in Germany&quot; as a model for cultivating a &quot;truly global,&quot; interdisciplinary ideal of medieval studies, describing critical trends, boundaries, and bridges in several subdisciplines, and commenting briefly on the role of Chaucer and Chaucerians.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273379">
    <dcterms:title><![CDATA[Chaucer and &quot;Il Filostrato.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Comparative analysis shows that several changes and emphases Chaucer introduces into Boccaccio&#039;s &quot;Filostrato&quot; produce richer characterization in TC. All three major characters &quot;think as well as feel&quot; in Chaucer&#039;s poem: Troilus with his fatalism; Criseyde, &quot;her pathetic search&quot; for true felicity; and Pandarus, his awareness of how &quot;slender is the tight-rope he is treading.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276816">
    <dcterms:title><![CDATA[Chaucer and &quot;Le Roman de Troyle et de Criseida.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the &quot;main source&quot; of TC &quot;may have been&quot; Beauvau&#039;s &quot;Le Roman de Troyle et de Criseida,&quot; a French prose translation of Boccaccio&#039;s &quot;Filostrato.&quot; Compares 300+ brief quotations (in all three languages), commenting on verbal and structural relations and arguing, tentatively, that the data not only indicate Chaucer&#039;s &quot;approximately equal indebtedness,&quot; to the two Continental works but also &quot;tip the balance&quot; in favor of accepting the French work as a &quot;significant volume in Chaucer&#039;s library.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265217">
    <dcterms:title><![CDATA[Chaucer and [Thomas] Aquinas]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Thomas Aquinas was a &quot;direct and major source for Chaucer&#039;s philosophy,&quot; demonstrates the availability of Thomas&#039;s work to Chaucer via Merton College, and explores the similiarities between their views of virtue and of the realism/nominalism controversy.  Both writers emphasize &quot;measure&quot; as a standard of virtue and embrace moderate realism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271086">
    <dcterms:title><![CDATA[Chaucer and a Choice of Taboo Words]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Chaucer&#039;s uses of words that have come to be regarded as obscene or distasteful.]]></dcterms:description>
</rdf:Description></rdf:RDF>