<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/271455">
    <dcterms:title><![CDATA[Chaucer and Lollardy]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s &quot;employment of Lollard ideas and motifs&quot; in the CT, particularly in ParsPT and WBP, and in the G version of the LGWP. Argues that Chaucer&#039;s rhetoric and portrayal of Lollardy reflects how he wants readers to understand the &quot;disorder of his age.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262313">
    <dcterms:title><![CDATA[Chaucer and Lydgate]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer gave Lydgate his language, his verse forms, and his poetic style--with the urge to refine and elaborate them into a high medieval art.  Lydgate&#039;s career is arguably a determined effort to emulate and surpass Chaucer in each of the major poetic genres that Chaucer had attempted.  The most striking example is Lydgate&#039;s building the Troy Book on Chaucer&#039;s TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265789">
    <dcterms:title><![CDATA[Chaucer and Lydgate in Palsgrave&#039;s &#039;Lesclarcissement&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines citations of Chaucer and Lydgate in John Palsgrave&#039;s &quot;Lesclarcissement de la langue francoyse&quot; (1530) as indications of the dictionary-maker&#039;s efforts to record &quot;special language use,&quot; i.e., dialectical use and varying registers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273241">
    <dcterms:title><![CDATA[Chaucer and Lydgate, and the Uses of History]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s and Lydgate&#039;s assumptions about their audience&#039;s knowledge of history, and discusses how and to what extent it may indicate irony in KnT, MkT, TC, and several works by Lydgate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265373">
    <dcterms:title><![CDATA[Chaucer and Malory]]></dcterms:title>
    <dcterms:description><![CDATA[Explores CYT and sections of Malory&#039;s &quot;Morte d&#039;Arthur&quot; as works that foreshadow the Renaissance, attempting &quot;to contain and understand the irrational and the numinous.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272321">
    <dcterms:title><![CDATA[Chaucer and Medicine]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the medical knowledge evident in CT, commenting on Chaucer&#039;s breadth of learning. Includes a glossary of medical terms found in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274940">
    <dcterms:title><![CDATA[Chaucer and Medieval Allegory.]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews D. W. Robertson&#039;s &quot;A Preface to Chaucer: Studies in Medieval Perspectives&quot; (1962), providing a brief survey of the &quot;prevailing criticism&quot; that challenges the exegetical, patristic, or historicist criticism that Robertson champions, and identifying several critical presuppositions that suggest Robertson&#039;s method is too universalized. Includes extended examples of analysis of literary realism in WBP (1-162), &quot;conscience&quot; in the GP description of the Prioress, and the psychological subtlety of Chaucer&#039;s characterization of Criseyde in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272140">
    <dcterms:title><![CDATA[Chaucer and Medieval Estates Satire: The Literature of Social Classes and the &#039;General Prologue&#039; to the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Establishes that GP is an example of the medieval literary genre of estates satire, i.e., a &quot;satiric representation of all classes of society,&quot; based on occupation. Surveys the tradition of the genre, including works that only draw on &quot;estates material,&quot; identifying sources and analogues for the details and attitudes that underlie each of the descriptions in GP, and showing that the form of GP is the estates satire, although it represents the third principal estate (laborers) with &quot;unusual richness.&quot; Demonstrates Chaucer&#039;s adaptations of estates materials and (in appendix B) argues that Chaucer was influenced by Gower (especially &quot;Mirour de l&#039;Omme&quot;) and Langland as well as by the larger Latin and French tradition. Discusses each of the GP descriptions, arranged in several topical categories of technique and subject matter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264904">
    <dcterms:title><![CDATA[Chaucer and Medieval Irony]]></dcterms:title>
    <dcterms:description><![CDATA[The inherent irony of CT stems from a Neoplatonic or Augustinian world view in which poetic tale-telling is an inadequate reflection of reality.  This particularly medieval irony necessitates the inclusion of Ret, whereby art leads beyond time and space to Truth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261343">
    <dcterms:title><![CDATA[Chaucer and Medieval Preaching: Rhetoric for Listeners in Sermons and Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the imagery, formulas, structure, and audience appeal of a number of Middle English sermons and sermon cycles, exploring their influence on Chaucer in Mel, ParsT, PardT, and NPT.  The aural element of sermons is reflected in Chaucer&#039;s poems; stylistic features are reflected in his irony, parody, and satire.  His treatments of sermon materials reflect his experiments between sermons and literature, religion and art.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261905">
    <dcterms:title><![CDATA[Chaucer and Medieval Scatalogy]]></dcterms:title>
    <dcterms:description><![CDATA[The scatalogical language and happenings in MilT and SumT can be interpreted as a serious commentary.  The farting, kissing, and symbolic sodomy recall the anal character of demonic ritual.  The friar&#039;s misuse of the gift of tongues may reflect the hostility of the mendicants to biblical translation.  The ars-metrik may satrize the casuistry of the scholastic method.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268753">
    <dcterms:title><![CDATA[Chaucer and Medieval Studies in Canterbury]]></dcterms:title>
    <dcterms:description><![CDATA[Brown describes a &quot;recent crisis&quot; that threatened the survival of the Canterbury Centre for Medieval and Tudor Studies at the University of Kent at Canterbury.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263253">
    <dcterms:title><![CDATA[Chaucer and Medusa: The &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Behind FranT is the &quot;Inferno,&quot; cantos 9-10--the cantos of the heretics, especially the Epicureans, and of Medusa.  The teller&#039;s epicureanism prevents him from probing beneath the letter to the spirit.  Likewise, his Dorigen is &quot;astoned&quot; (astonished, turned to stone) by a &quot;monstre&quot; (Medusa; FranT 1338-45).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264331">
    <dcterms:title><![CDATA[Chaucer and Menippean Satire]]></dcterms:title>
    <dcterms:description><![CDATA[A difficult form requiring of the reader a complex consciousness and thus hitherto largely neglected by critics, Menippean satire provides a meaningful context for Chaucer.  The works of the third century B.C. satirist, themselves being lost, come to us through Lucian, as a highly elaborate satiric form, questioning not only deviations from the ideal but also even the possibility of any ideal--a questioning attitude couched nevertheless in a tone of enormous good humor and courtesy. ]]></dcterms:description>
    <dcterms:description><![CDATA[Payne explicates Boethius&#039;s &quot;Consolation of Philosophy&quot; as Menippean satire and then proceeds to set the chief works of Chaucer showing Boethian influence in the same context, devoting two chapters to each:  TC, pp. 86-158; NPT, pp. 159-206; KnT, pp. 207-58.  Of these, KnT, itself a parody of the genre, is the most complex.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271621">
    <dcterms:title><![CDATA[Chaucer and Middle English Studies in honour of Rossell Hope Robbins]]></dcterms:title>
    <dcterms:description><![CDATA[Thirty-six essays by various authors on late-medieval literature and manuscripts, accompanied by an appreciation of Robbins&#039;s career and list of his publications. For seventeen essays that pertain to Chaucer, search for Chaucer and Middle English Studies under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261864">
    <dcterms:title><![CDATA[Chaucer and Modernism : An Essay in Criticism]]></dcterms:title>
    <dcterms:description><![CDATA[Modernism, properly defined, allows the critic to evaluate Chaucer&#039;s art more meaningfully.  Modernism has much in common with the medieval aesthetic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274960">
    <dcterms:title><![CDATA[Chaucer and Moliere: Kindred Patterns of the Dramatic Impulse in Human Comedy.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares MerT, MilT, and ShT with works by Moliére, arguing that Chaucer&#039;s &quot;dramatic impulse&quot; is clear in light of &quot;Comedy Proper,&quot; a dramatic form in which intellectual error leads to folly and just, comic punishment. Both writers succeed through the ability to depict characters with &quot;certain universal qualities common to all&quot; and lampoon them with &quot;biting, ironical, laugh-logged satire.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268175">
    <dcterms:title><![CDATA[Chaucer and Montserrat]]></dcterms:title>
    <dcterms:description><![CDATA[The authors maintain that Chaucer&#039;s visit to Monserrat inspired aspects of HF and suggest that Chaucer&#039;s man of great authority (HF 2158) was Pedro IV.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261349">
    <dcterms:title><![CDATA[Chaucer and Moral Philosophy: The Virtuous Women of The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Chaucer identifies the virtuous women in MLT, ClT, PhyT, and Mel with one of the four cardinal virtues to enhance the characteristics found in his sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263391">
    <dcterms:title><![CDATA[Chaucer and Mythology]]></dcterms:title>
    <dcterms:description><![CDATA[An overview of research in progress on the mythographic tradition in the Middle Ages (primarily commentary on the works of Virgil, Lucan, Statius, Martianus Capella, Boethius, and Ovid) and examples of its applicability to Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262807">
    <dcterms:title><![CDATA[Chaucer and Nominalism: &#039;The Envoy to Bukton&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although Buk appears to be a condemnation of marriage, Chaucer may have been experimenting with the philosophy of Ockham and Williams in presenting two paths to &quot;knowing&quot;:  experimentation and trusting authority.  Buk reflects Chaucer&#039;s concerns prior to CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268856">
    <dcterms:title><![CDATA[Chaucer and Other Earlier English Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Mason surveys English translations and modernizations of Chaucer&#039;s works (and apocrypha) between 1660 and 1795, commenting on Dryden&#039;s and Pope&#039;s versions and the imitations they inspired. Includes a list of &quot;Chaucer&#039;s Translations 1660-1795.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264777">
    <dcterms:title><![CDATA[Chaucer and Ovid]]></dcterms:title>
    <dcterms:description><![CDATA[Unlike Ovid and Dante, who speak for fate and the universal order, Chaucer and Ovid speak for &quot;the comic pathos of human frailty and human pretensions.&quot;  The central concern of Chaucer&#039;s HF, BD, PF, LGW, TC, KnT, and NPT is with the attempt, and failure, of the narrator or his surrogate to remain detached and to control the flow of events.  This Ovidian paradigm provides a fresh reading of the poems.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262580">
    <dcterms:title><![CDATA[Chaucer and Ovid: A Question of Authority]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s borrowings from Ovid in HF, BD, WBT, and ManT.  Although to the fourteenth century the &quot;Metamorphoses&quot; was a chief among works demystified or allegorized to produce Christian doctrine, Chaucer rejects this tradition and emphasizes the fable.  There is little evidence that he used the &quot;Ovide moralise&quot;; if he did, it was mediated through Machaut. ]]></dcterms:description>
    <dcterms:description><![CDATA[He borrowed Ovid&#039;s tales, especially those of women in distress, but avoided their afterlife, concentrating on the present; his emphasis is humanist.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276901">
    <dcterms:title><![CDATA[Chaucer and Ovid: The Source of The Legend of Thisbe.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines passages in The Legend of Thisbe of LGW that differ from the source, Ovid&#039;s &quot;Metamorphoses.&quot; In Japanese.]]></dcterms:description>
</rdf:Description></rdf:RDF>