<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/277410">
    <dcterms:title><![CDATA[Chaucer and the Ethics of Time.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how Chaucer uses the &quot;temporality of poetic form to explore the ethics of time&quot; in CT, BD, and TC. Connects Chaucer&#039;s poetic techniques to broader philosophical and ethical discourses of Augustine and Boethius.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263357">
    <dcterms:title><![CDATA[Chaucer and the European &#039;Rose&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the influence of &quot;Roman de la Rose&quot; on European literature; Brunetto Latini, &quot;ser Durante,&quot; Dante, Boccaccio, Petrarch, Chaucer.  &quot;Five generations of Italian poets...defined their individual enterprise&quot; against the &quot;Rose.&quot;  Chaucer concentrated their efforts into one lifetime as he fashioned a &quot;vulgaris illustris&quot; from a recalcitrant vernacular.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261832">
    <dcterms:title><![CDATA[Chaucer and the European Literary Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s poetry is highly dependent on Latin, French, and Italian works and genres, and on medieval thought in general.  In his day his various works represented stages in the development of different medieval literary traditions; he borrowed from other authors as a conscious method for adding multivalent significance to his own works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268902">
    <dcterms:title><![CDATA[Chaucer and the European Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[The Presidential Address, The New Chaucer Society, Fourteenth International Congress, 15-19 July 2004, University of Glasgow. Explores Chaucer&#039;s idea of &quot;serious poetry,&quot; derived from French and Italian models. Comments on Chaucer&#039;s treatments of heroism and tragedy, the political implications of poetry, and Chaucer&#039;s fusion of courtly and classical traditions. Discusses TC, KnT, and NPT and gives particular attention to MkT (especially Hugolino) as Chaucer&#039;s exploration of inadequate poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272559">
    <dcterms:title><![CDATA[Chaucer and the Exegetes]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the pros and cons of applying patristic criticism to the study of Chaucer, arguing for typological rather than allegorical (or tropological) analyses and discouraging limited readings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261836">
    <dcterms:title><![CDATA[Chaucer and the Fair Field of Anglo-Norman]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277085">
    <dcterms:title><![CDATA[Chaucer and the Fantasy of Retroactive Consent.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores aspects of sexual consent and non-consent in RvT--particularly Malyne&#039;s romanticizing of Aleyn&#039;s assault--linking them with Augustine&#039;s comments on Lucretia in &quot;De civitate Dei,&quot; modern notions of &quot;retroactive consent,&quot; and the Chaucer life records that pertain to Cecily Chaumpaigne. For response, see Lynn Shutters&quot;Response to Leah Schwebel and Jennifer Alberghini.&quot; SAC 44 (2022): 359-60.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261538">
    <dcterms:title><![CDATA[Chaucer and the Fictions of Gender]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the relationship between gender and subjectivity in the works of Chaucer, assessing from a feminist critical perspective the traditional &quot;adulation&quot; of the poet.  Hansen examines the &quot;feminization&quot; of Chaucer&#039;s characters and narrators and demonstrates that various characters are depicted as readers or misreaders.                                                                                                                                                           ]]></dcterms:description>
    <dcterms:description><![CDATA[BD is shaped by the absence of the central female figure, Blanche.  The treatment of Geoffrey and Dido in HF reflects distrust of authority.  PF challenges assumptions about heteterosexual desire.  TC presents the instability of gender through its narrator and major characters.  KnT, MilT, MerT, and FranT reveal their speakers&#039; anxieties about gender, while the self-effacement of ClT pointedly avoids this issue.                                                   ]]></dcterms:description>
    <dcterms:description><![CDATA[ WBP raises questions about the presence and absence of female perspective.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263580">
    <dcterms:title><![CDATA[Chaucer and the French]]></dcterms:title>
    <dcterms:description><![CDATA[Deals with Chaucer&#039;s French sources and his reception in France.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264305">
    <dcterms:title><![CDATA[Chaucer and the French Influence]]></dcterms:title>
    <dcterms:description><![CDATA[In his early poetry Chaucer tried to use a purely native English vocabulary; his later works show a more comfortable use of the cultural vocabulary with which he and his bilingual audience were familiar.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273345">
    <dcterms:title><![CDATA[Chaucer and the French Love Poets: The Literary Backgrounds of the &quot;Book of the Duchess.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates Chaucer&#039;s extensive dependence upon French love poetry, tracing the development of &quot;dits amoreux&quot; from Guillaume de Lorris&#039;s portion of the &quot;Roman de la Rose&quot; to Chaucer&#039;s contemporaries and identifying where in BD Chaucer was influenced by the &quot;Roman&quot; and works by Guillaume de Machaut and Jean Froissart. In images and details, the &quot;Roman&quot; is pervasive and Froissart&#039;s &quot;Paradys d&#039;Amours&quot; inspired Chaucer&#039;s &quot;dream machinery.&quot; Four of Machaut&#039;s poems are the models or sources of sections of BD. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267373">
    <dcterms:title><![CDATA[Chaucer and the French Tradition Revisited : Philippe de Mézières and the Good Wife]]></dcterms:title>
    <dcterms:description><![CDATA[Defines the French literary topos of the good wife, wherein &quot;female virtue grounded in prudence and self-control benefits the immediate domestic and also the wider public spheres.&quot; Reflected in Philippe&#039;s &quot;Le livre de la vertu du sacrement de mariage,&quot; the topos underlies Chaucer&#039;s ClT, Mel, and SNT in general and specific ways.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276744">
    <dcterms:title><![CDATA[Chaucer and the French Tradition: A Study in Style and Meaning.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes aspects of medieval French poetry that influenced Chaucer&#039;s style, high and low, tracing the idealizing, nonrepresentational conventions of courtly romances from the early twelfth century to their epitome in Guillaume&#039;s de Lorris&#039;s portion of the &quot;Roman de la Rose,&quot; and surveying the naturalistic, colloquial aspects of fabliaux, beast epics, and fables as they influence Jean de Meun&#039;s subsequent portion. Analyzes Chaucer&#039;s fusions of these traditions in his mature poetry through blending, juxtaposition, and parody: BD emulates relatively pure courtly style; increasing use of realistic conventions enrich HF and PF. TC balances courtly features and realism, contrasting both with Boethian sublimity to disclose their limits. CT displays the courtly (KnT and ClT), the realistic (RvT, WBT, CYT), and rich mixtures (MilT, MerT, NPT). Variety in styles and tones produce a Gothic tension between the ideal and the phenomenal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264021">
    <dcterms:title><![CDATA[Chaucer and the French War: &#039;Sir Thopas&#039; and &#039;Melibee&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Th, a burlesque romance, and Mel, a moral allegory, express substantially the same ideas in their satiric evaluation of military heroes and affairs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261823">
    <dcterms:title><![CDATA[Chaucer and the Function of the Word]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval thinkers reverenced the word for its power to give order to experience, but Chaucer throughout his writings calls attention to the unreliability of the word.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268057">
    <dcterms:title><![CDATA[Chaucer and the Future of Language Study]]></dcterms:title>
    <dcterms:description><![CDATA[Hanna encourages more refined analysis of Chaucer&#039;s lexical practice, especially examination of patterns of choices between English and French synonyms.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276100">
    <dcterms:title><![CDATA[Chaucer and the Future of World Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores interrelations among world literature studies, comparative literature studies, textbook marketing, translations of Chaucer&#039;s works into various languages, Ngugı wa Thiong&#039;o&#039;s concept of &quot;globalectics,&quot; and the essays accompanying Warren&#039;s in this special issue of &quot;Literature Compass.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269294">
    <dcterms:title><![CDATA[Chaucer and the Gift (If There Is Any)]]></dcterms:title>
    <dcterms:description><![CDATA[Explores gift-giving in Part 5 of CT, from the magical gifts given to Ghengis Khan in SqT to the concern with generosity that ends FranT. Uses Derridean notions of gifts and exchange to argue that the sequence is Chaucer&#039;s means to &quot;erase unproductive expenditure . . . by safely framing and containing it by economy and exchange.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261368">
    <dcterms:title><![CDATA[Chaucer and the Goats of Creation]]></dcterms:title>
    <dcterms:description><![CDATA[Although elite cultural views, such as those of theologians, set the polarities of moral judgment as good and evil, vernacular writings in Middle English--including Lollard sermons, Piers Plowman, and CT--set up instead a dialectic of sin and evil.  In their neglect of social and spiritual responsibilities, the Friar, the Summoner, and the Pardoner of GP, alone among the pilgrims, show themselves &quot;totally and immutably evil.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272631">
    <dcterms:title><![CDATA[Chaucer and the Gods]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes traditions antecedent to Chaucer&#039;s uses of classical deities, and asserts that Chaucer&#039;s own uses rejuvenate the tradition, arguing that he is less conventional than usually assumed. Treats sources and analogues, BD, HF, PF, TC, LGWP, KnT, MerT, and several fifteenth-century followers of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262049">
    <dcterms:title><![CDATA[Chaucer and the Golden Age]]></dcterms:title>
    <dcterms:description><![CDATA[The solemn tone of an unusually learned vocabulary, the skillful syntax, and the architectural strength of the ababbcbc eight-line unit combine to give Chaucer&#039;s &quot;image of regret&quot; in &quot;Form Age&quot; what Joseph Campbell calls the &quot;force of living myth&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273833">
    <dcterms:title><![CDATA[Chaucer and the Hand That Fed Him.]]></dcterms:title>
    <dcterms:description><![CDATA[Documents the influence on WBPT, SumT, PardT, and, to a lesser degree, other parts of CT of the &quot;Communiloquium&quot; of John of Wales (or another fraternal compendium much like it), showing that a number of biblical, classical, and medieval quotations or allusions in Chaucer&#039;s works (and sometimes their manuscript glosses) are similar in wording, details, and sequence to those found in John&#039;s preaching manual. Establishes that Chaucer transformed &quot;anecdotes, sayings, and comments into poetry, using them to develop character, drama, and satire,&quot; and that he tapped into  his audience&#039;s familiarity with preaching friars and their devices.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261720">
    <dcterms:title><![CDATA[Chaucer and the Hand that Led Him]]></dcterms:title>
    <dcterms:description><![CDATA[While Chaucer undoubtedly mined John of Wales&#039;s Communiloquium for details in PardT, he also consulted Jerome&#039;s Letter 22, to Eustochium, for details not found in John&#039;s florilegium. Comparison of PardT with Jerome&#039;s letter elucidates Chaucer&#039;s direct debt to Jerome for details of tale and teller.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269528">
    <dcterms:title><![CDATA[Chaucer and the Harp : Stringed Musical Instruments in The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Bowen considers the treatment of stringed instruments in Chaucer&#039;s Latin sources, their treatment as symbols of &quot;celebration and peace&quot; for characters in CT, and connections between the instruments and concepts of bodies. Stringed instruments &quot;function as figurae&quot; in Chaucer&#039;s work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271860">
    <dcterms:title><![CDATA[Chaucer and the History of English]]></dcterms:title>
    <dcterms:description><![CDATA[Critiques traditional treatment of Chaucer&#039;s English as the main antecedent of modern English and the assertion that it is representative. Chaucer&#039;s English is more conservative than that of many of his contemporaries and of general spoken discourse. Chaucer&#039;s use of the second-person plural pronoun, rife with social implications, indicates that the T-V distinction was no more than part of Chaucer&#039;s stylistic toolbox and not a marker of linguistic change. Some attention is given to TC.]]></dcterms:description>
</rdf:Description></rdf:RDF>