<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/272371">
    <dcterms:title><![CDATA[Chaucer and the Sun-God: King and Poet]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s use of sun-king imagery and references to Apollo in a variety of works. Compiles historical connections among Chaucer&#039;s allusions and Richard II and other political figures&#039; iconography, suggesting a multivalent portrayal of kingship involving both &quot;fear&quot; and &quot;splendour.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273112">
    <dcterms:title><![CDATA[Chaucer and the Taverners of Ipswich: The Influence of His Paternal Ancestors upon some Portraits and upon His Descendants]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that as he grew older, Chaucer became disenchanted with the affectations of court life and with the mercantile life of his own father  and developed an interest in his paternal ancestors who had been provincial taverners in Ipswich in the county of Suffolk. This development  is reflected in the portrait gallery of the GP where Chaucer displays his aversion to affectation and his interest in provincial people.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262627">
    <dcterms:title><![CDATA[Chaucer and the Text: Two Views of the Author]]></dcterms:title>
    <dcterms:description><![CDATA[Dinshaw argues that we must read the text of Chaucer dialectically, &quot;both (as) the expression of an individual, historical writer and as having significance that is dependent upon preexisting structures of language.&quot;  Investigates how texts &quot;create&quot; their authors and &quot;how the author is delimited by the text itself&quot; and examines the &quot;figures of the poet&quot; in HF, TC, and LGWP.]]></dcterms:description>
    <dcterms:description><![CDATA[Originally Ph.D. diss., Princeton University, 1982.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263915">
    <dcterms:title><![CDATA[Chaucer and the Text: Two Views of the Author]]></dcterms:title>
    <dcterms:description><![CDATA[Produced at a time when authors as individuals and literary structures were emerging, Chaucer&#039;s texts should be read both as an individual author&#039;s work and as the work of a &quot;construct.&quot;  The relationship appears in HF and develops through TC to the LGWP.]]></dcterms:description>
    <dcterms:description><![CDATA[Published by Garland Press in 1988.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275919">
    <dcterms:title><![CDATA[Chaucer and the Textualities of Troy.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys some of the sources of and connections among the various texts that predate Chaucer and that describe Troy and its fall. Discusses a range of Chaucerian engagements with Troy, including BD and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272974">
    <dcterms:title><![CDATA[Chaucer and the Theme of Mutability]]></dcterms:title>
    <dcterms:description><![CDATA[Describes considerations of mutability from &quot;Antiquity Through the Middle Ages&quot; and then focuses on Chaucer&#039;s works, with individual sections that assess aspects of the theme in Chaucer&#039;s translations, his lyric poems, his dream visions, TC, KnT, and the &quot;Remainder&quot; of the CT. Considers several sub-themes: &quot;decay of the world, &#039;ubi sunt,&#039; mutability, mortality, contempt of the world [&#039;contemptus mundi&#039;], putrefaction,&quot; and &quot;the world in all its transitoriness,&quot; arguing that the theme is prevalent throughout Chaucer&#039;s career and that it helps to account for the &quot;tension and universality of his poetry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275312">
    <dcterms:title><![CDATA[Chaucer and the Theme of Mutability.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the development of the notion of mutability from decay to progress, with related motifs, and assesses its place in Boethius&#039; &quot;Consolation of Philosophy&quot; and the &quot;De Contemptu Mundi&quot; of Innocent III. Then examines Chaucer&#039;s &quot;peculiar sensibility of impermanence&quot; as evident in several of his short poems, BD, PF, TC, and CT, especially in KnT, MLPT, MkT, and MerT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269831">
    <dcterms:title><![CDATA[Chaucer and the Theory Wars: Attack of the Historicists? The Psychologists Strike Back? Or a New Hope?]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys recent historicist and psychoanalytic approaches to Chaucer&#039;s writing, positing an impending turn toward &quot;an emerging norm of multi- and post-theoretical criticism.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263416">
    <dcterms:title><![CDATA[Chaucer and the Three Crowns of Florence (Dante, Petrarch, and Boccaccio): Recent Comparative Scholarship]]></dcterms:title>
    <dcterms:description><![CDATA[Review article.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273866">
    <dcterms:title><![CDATA[Chaucer and the Tradition of Fame: Symbolism in &quot;the House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Confronts the &quot;deliberate obscurity&quot; of HF, seeking to resolve its apparent disjunctions and disunities by reading it as a &quot;poetic allegory&quot; on the &quot;subject of fame,&quot; influenced by scriptural tradition, by the dual aspects of Venus (secular and sacred love), and by Dante&#039;s &quot;Divine Comedy.&quot; The dream frame and the &quot;symbolic date&quot; of the poem invite attention to the &quot;outer and inner modes&quot; of allegory, the Dido and Aeneas account signals a dual concern with love and fame, and the eagle indicates a kind of rational pursuit of the dual ideals. Fame&#039;s hall is deeply symbolic and the narrator&#039;s quest is a pursuit for tidings of love both spiritual and earthly. Based on the author&#039;s 1959 Princeton University dissertation: &quot;Chaucer and the Tradition of Fame: A Study of the Symbolism in the &#039;House of Fame&#039;.&quot; ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276854">
    <dcterms:title><![CDATA[Chaucer and the Tradition of French Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides a list of French works written in the period up to Chaucer&#039;s lifetime in the order of the number of extant manuscripts, from more than 100 to four. Assuming this reflects the French texts that surrounded Chaucer, reviews Charles Muscatine&#039;s classical study, &quot;Chaucer and the French Tradition &quot;(1957). In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261502">
    <dcterms:title><![CDATA[Chaucer and the Tradition of the Roman Antique]]></dcterms:title>
    <dcterms:description><![CDATA[Nolan analyzes continental verse narratives from which Chaucer borrowed for KnT and TC--namely, the Roman de Troie, Roman de Thebes, Roman d&#039;Eneas, and Boccaccio&#039;s Filostrato and Teseida.  TC uses Ovidian fine amor as a &quot;fulcrum,&quot; and history as a glass for examining love, but Chaucer adds that erotic love is mortal and subject to Fortune&#039;s whims.                                 ]]></dcterms:description>
    <dcterms:description><![CDATA[  Based solely on an ancient--and pagan--world view, KnT excludes Christian spirituality.  The Knight&#039;s stoicism and classical notion of justice  clash with the episodic irrationality of the medieval romance, where adventures and marvels pose moral questions in a chaotic world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266394">
    <dcterms:title><![CDATA[Chaucer and the Traditions of Dawn-Song]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer draws on a variety of sources--Boccaccio, Ovid, French dawn-songs, popular dawn-song traditions, courtly dawn-songs, and (perhaps) popular poetry--for the dawn-songs in RvT, MerT, Mars, and TC.  He uses these sources in a variety of idiosyncratic ways.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268003">
    <dcterms:title><![CDATA[Chaucer and the Tragic Vision of Life]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Chaucer&#039;s response to ancient poetry, especially as Chaucer (like Dante) fuses the ancient with more recent models while pursuing the ancient concern with the tragic sorrows of love. Wetherbee comments on aspects of BD and HF, examines the invocation of Tisiphone in TC, and discusses the end of KnT. In LGWP, as elsewhere, Chaucer is a love poet, subject to ancient tragedy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267917">
    <dcterms:title><![CDATA[Chaucer and the Translation of the Jewish Scriptures]]></dcterms:title>
    <dcterms:description><![CDATA[Wycliffite translation of Jewish Scripture and the glosses and prologues that supplemented it often reflect curiosity about Jewish scholarship. Chaucer may have read the translation and may have admired the reading practices of the Jews.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266857">
    <dcterms:title><![CDATA[Chaucer and the Trivium: The Mindsong of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that medieval language theory and the arts of grammar, logic, and rhetoric inform CT. They provided Chaucer with his fundamental awareness of the slipperiness of language-its inability to represent truth and reality and its ability to distort as well as convince. ]]></dcterms:description>
    <dcterms:description><![CDATA[Also, as the source of Chaucer&#039;s understanding of human cognition, the trivium gave Chaucer the &quot;mechanism for consciously evoking an image of the human individual&quot; (203). Summarizes medieval education and its &quot;implications&quot; and discusses GP, KnT, MLT, and ClT as works in which the influence of the trivium on Chaucer&#039;s imagination and techniques is particularly clear. Includes brief discussion of WBP, MerT, FranT and Mel.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263384">
    <dcterms:title><![CDATA[Chaucer and the Trots: What to Do About Those Modern English Translations]]></dcterms:title>
    <dcterms:description><![CDATA[Translations of Chaucer are inadequate and have no place in serious literary scholarship.  Reviews of translations are also misleading since they may suggest that modern English versions lift a veil from the opacity of Chaucer&#039;s poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266154">
    <dcterms:title><![CDATA[Chaucer and the Universe of Learning]]></dcterms:title>
    <dcterms:description><![CDATA[In the Ellesmere arrangement, CT forms a unified whole, modeled on the seven planets and on the traditional divisions of philosophy, offering a &quot;planetary pilgrimage&quot; and a philosophical &quot;journey of the soul.&quot;  Like Gower&#039;s &quot;Confessio Amantis,&quot; CT is an &quot;ordered collection of exemplary stories,&quot; structurally tripartite.]]></dcterms:description>
    <dcterms:description><![CDATA[  The two works are also similar in that each &quot;involves its reader as an active participant in the construction of its meaning.&quot;  A planetary scheme connects CT and Dante&#039;s &quot;Paradiso,&quot; even though their audiences differ and Chaucer has &quot;[n]o unequivocally authoritative guide for his pilgrims.&quot;  Not a court poet, Chaucer belongs among the literate and bookish crowd of England, and his work is best viewed in the genre familiar to his audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274971">
    <dcterms:title><![CDATA[Chaucer and the Unnatural History of Animals.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies the conventionality of Chaucer&#039;s references to allegorical and/or exemplary animals and their significances, offering numerous examples to show that Chaucer&#039;s allusions are &quot;brief&quot; and generally similar to and/or derived from &quot;the most widely defused tales of antiquity,&quot; the Bestiary, ecclesiastical architecture and illuminated manuscripts, homilies, or folk tradition]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276245">
    <dcterms:title><![CDATA[Chaucer and the Vintry Ward Death.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record indicates that this murder mystery involves Chaucer as a young man investigating a case that involves his family and the wine trade in the Vintry Ward,]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270431">
    <dcterms:title><![CDATA[Chaucer and the Visual Arts]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the importance of mental images to medieval understanding of cognition and memory, and clarifies the importance of such images to understanding Chaucer&#039;s works as iconographical poems. Meaning inheres in such images and enables both recollection and interpretation throughout his narrative works.  Moreover, the depiction of the story of Aeneas in HF is a &quot;medieval paradigm of how narrative poems are made, responded to, and remembered.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264306">
    <dcterms:title><![CDATA[Chaucer and the Visual Arts of His Time]]></dcterms:title>
    <dcterms:description><![CDATA[Further enquiry can illuminate Chaucer&#039;s references and response to the visual arts, the artistic materials actually available to him,  the applicability of artistic principles to his literary style, and the extent to and manner in which he appropriates the techniques and iconography of contemporary visual arts.  Applications to RvT, GP portrait of the Summoner, and FrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269470">
    <dcterms:title><![CDATA[Chaucer and the Visual Image: Learning, Teaching, Assessing]]></dcterms:title>
    <dcterms:description><![CDATA[Describes and promotes the use of image-rich material and virtual learning environments for teaching Chaucer.  Includes cautions and recommendations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269874">
    <dcterms:title><![CDATA[Chaucer and the War of the Maidens]]></dcterms:title>
    <dcterms:description><![CDATA[The War of  the Maidens, a founding myth of Czech history, may have come to England via Anne of Bohemia and may be part of the &quot;political  unconscious&quot; of several of Chaucer&#039;s works, particularly his depiction of the Amazons in KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261297">
    <dcterms:title><![CDATA[Chaucer and the World of Interpretation: The Priest&#039;s Letter]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the conflict between the letter and the spirit in NPT, providing a short survey of the history of literal interpretation.  Chaucer freely accepts the letter as literature without excluding the morality.  The Priest makes us turn away from nonliteral exegesis while inviting us to pursue it.]]></dcterms:description>
</rdf:Description></rdf:RDF>