<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/268583">
    <dcterms:title><![CDATA[&#039;I wol sterve&#039; : Negotiating the Issue of a Lady&#039;s Consent in Chaucer&#039;s Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[As speech acts, threats are usually both conditional and commisive; i.e., they depend on an inferred promise, and they commit the speaker to some future course of action. Threats in Chaucer&#039;s works are usually modulated by the additional element of playfulness. Rudanko examines the presentation of threat in wooing scenes from PF, KnT, MilT, and TC, arguing that coercive wooing often depends on the threat of the speaker&#039;s own death, modulated by some degree of playfulness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266246">
    <dcterms:title><![CDATA[&#039;I Wol Thee Telle Al Plat&#039;: Poetic Influence and Chaucer&#039;s Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[A psychoanalytic reading of the Pardoner that views him as one who struggles to escape the influence of his father-figure (God) and simultaneously to escape literary models posed in the Bible.  Freud and Harold Bloom enable us to see the struggle between id and ego in the Pardoner and a parallel struggle in the Pardoner&#039;s efforts both to supersede and to reject his literary precurors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265706">
    <dcterms:title><![CDATA[&#039;I Wol Yow Seyn the Lyf of Seint Edward&#039;: Evidence for Consistency in the Character of Chaucer&#039;s Monk]]></dcterms:title>
    <dcterms:description><![CDATA[To show that love for hunting does not preclude piety, the worldly Monk of GP invokes Edward the Confessor, who was often portrayed as a celibate Christian as well as a passionate hunter.  Because of Edward&#039;s dual interests, the Monk&#039;s pursuit of venery might be viewed more favorably.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269120">
    <dcterms:title><![CDATA[&#039;I wolde hyt here write&#039;: Mythologically Speaking About Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the uses and functions of classical myth in Chaucer&#039;s works from a double perspective: Chaucer&#039;s knowledge of the different stories and his creative adaptations of this material.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265890">
    <dcterms:title><![CDATA[&#039;I Wot Myself Best How Y Stonde&#039;: Literary Nominalism, Open Textual Form and the Enfranchisement of Individual Perspective in Chaucer&#039;s Dream Visions]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates the fundamental, formal open-endedness of BD, HF, and, especially, PF, arguing that the poems exemplify a kind of &quot;literary nominalism&quot; that obliquely reflects contemporary philosophical discourse.  Aligns nominalism with &quot;open literary forms; realism, with &quot;closed&quot; ones.]]></dcterms:description>
    <dcterms:description><![CDATA[Aligns nominalism with &quot;open literary forms; realism, with &quot;closed&quot; ones.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268519">
    <dcterms:title><![CDATA[&#039;If heaven be on this earth, it is in a cloister or in school&#039;: The Monastic Ideal in Later Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Late-medieval changes in monastic life affected the presentation of monks in secular English literature, including works by Langland, Chaucer, and Lydgate. Chaucer&#039;s presentation of monks in GP, MkT, and ShT reflects the &quot;new monk,&quot; who uses practical abilities for spiritual good.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265949">
    <dcterms:title><![CDATA[&#039;If It Youre Wille Be&#039;: Coercion and Compliance in Chaucer&#039;s &#039;Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The relationship between Walter and Griselda partially re-enacts the paradigm of a child&#039;s ego development.]]></dcterms:description>
    <dcterms:description><![CDATA[  While Walter&#039;s inordinate tyranny is fueled by Griselda&#039;s inordinate compliance, an alternative model of domination is shown by the Clerk&#039;s own ordinate exercise of authority and his submission in his relations with the other pilgrims.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273090">
    <dcterms:title><![CDATA[&#039;If that I walke&#039;: A Study of Mobility in Late Medieval British Texts]]></dcterms:title>
    <dcterms:description><![CDATA[Considers walking and other forms of mobility in terms of social expectations of urban movement and movers. Examines works by various authors, including Chaucer, Hoccleve, and Shakespeare.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269646">
    <dcterms:title><![CDATA[&#039;Ignotum per ignocius&#039;: Alchemy, Analogy, and Poetics in Fragment VIII of The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer addresses the &quot;late medieval attack on analogical thought through his discussion of the failure of alchemy.&quot; SNT presents analogical thinking through its clear, but bridgeable, contrasts of spirit and body, whereas CYT offers an uncertain relationship between the two. Moreover, poetry--like alchemy--may suffer from uncertainty about the relationship between the universal and the particular.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269812">
    <dcterms:title><![CDATA[&#039;In another kynde&#039;: Modes of Recognition in Late Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Uses KnT and TC (among other works) as case texts for a study of recognition within various forms of medieval romance. In particular, Manion argues that these Chaucerian texts use recognition as a means of speculating on the limits of interpersonal knowledge.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270713">
    <dcterms:title><![CDATA[&#039;In curteisie was set ful muchel hir lest&#039;: Politeness in Middle English]]></dcterms:title>
    <dcterms:description><![CDATA[Traces developments in the politeness system between Old English and Early Modern English, focusing on Chaucer&#039;s uses of the term &quot;curteisie,&quot; his uses of the pronouns of address (&quot;ye&quot; and &quot;thou&quot;) in MilT, and cases of &quot;discernment&quot; politeness in fifteenth-century letter writing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266579">
    <dcterms:title><![CDATA[&#039;In Forme of Speche&#039; Is Anxiety: Orality in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s proverbs in HF point up the provocative tension between orality and literacy in the Middle Ages.  Ultimately, however, the poem illustrates that Chaucer favors literacy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265502">
    <dcterms:title><![CDATA[&#039;In Gentil Hertes Ay Redy to Repaire&#039;: Dante&#039;s Francesca and Chaucer&#039;s Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[Examines intertextual relations among the opening of TC 3, its sources in Boethius and Boccaccio, Dante&#039;s &quot;Inferno,&quot; and Guido Guinizelli&#039;s canzone, &quot;Al cor gentile rempaira sempre amore.&quot;  Chaucer&#039;s modifications of his predecessors and Troilus&#039;s apotheosis reflect the poet&#039;s conviction that human sensual love is analogous to the &quot;love by which the cosmos is ruled.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269031">
    <dcterms:title><![CDATA[&#039;In Hir Tellyng Difference&#039;: Gender, Authority, and Interpretation in the Tale of Melibee]]></dcterms:title>
    <dcterms:description><![CDATA[Mel is &quot;very much about what happens when texts are taken out of one context and put to work in another.&quot; Prudence invokes gender in shaping her arguments, and her presentation of her authorities reminds us that the &quot;processes of textual engendering and reproduction&quot; are not simple transmission. Her &quot;work&quot; as a compiler and interpreter &quot;mirrors Chaucer&#039;s own role&quot; in compiling his tales, as well as his concern about the relationship between authority and authorship.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273976">
    <dcterms:title><![CDATA[&#039;In his old dress&quot;: Packaging Thomas Speght&#039;s Chaucer for Renaissance Readers.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on three letters that preface Thomas Speght&#039;s Chaucer editions, which &quot;conceive, invite, and attempt to influence their audiences.&quot; Argues that these letters reveal that the intended audience included both the established audience for Chaucer and &quot;a wider readership of consumers uninitiated into studying the poet and his Middle English.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262488">
    <dcterms:title><![CDATA[&#039;In Meetre in Many a Sondry Wyse&#039;: Fortune&#039;s Wheel and &#039;The Monk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The eight-line rhyme scheme of MkT, with the prosodic climax situated in the middle of the stanza, suggests Fortune&#039;s wheel.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262687">
    <dcterms:title><![CDATA[&#039;In Sangwyn and in pers&#039;: Les couleurs dans le prologue general des &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the semantic significance and connotations of colors used as important elements in GP character descriptions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261777">
    <dcterms:title><![CDATA[&#039;Inferno&#039; 5 and &#039;Troilus and Criseyde&#039; Revisited]]></dcterms:title>
    <dcterms:description><![CDATA[Compares how Dante&#039;s Paolo and Francesca fall in love with the process of Criseyde&#039;s falling in love.  Each poet self-consciously depicts love, but whereas Dante maintains a conventional view of his feminine character, Chaucer discloses the limitations of traditional representations of female passivity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269633">
    <dcterms:title><![CDATA[&#039;Infernus et os vulvae&#039;: A Second Look at Proverbs and Chaucer&#039;s Prioress]]></dcterms:title>
    <dcterms:description><![CDATA[Allusive echoes among the GP description of the Prioress, WBP, and the biblical Proverbs suggest that Chaucer subtly condemns the Prioress for sexual excess.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262798">
    <dcterms:title><![CDATA[&#039;Inviolable Voice&#039;: Philomela and Procne in Dante&#039;s &#039;Purgatorio&#039; and Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Drawing on the myth of Proche and Philomela, Dante uses birds to symbolize night and day, while Chaucer uses them to symbolize the love of Troilus and Criseyde.  Both writers invoke images from the myth to represent love-gone-wrong.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269757">
    <dcterms:title><![CDATA[&#039;Is not the past all shadow?&#039;: History and Vision in Byron, the Shelleys, and Keats]]></dcterms:title>
    <dcterms:description><![CDATA[Places Chaucer in a tradition of English visionary literature that culminates in the second generation of  Romantic poets.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266677">
    <dcterms:title><![CDATA[&#039;Is This a Mannes Herte?&#039;: Unmanning Troilus Through Ovidian Allusion]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer plays with Ovid&#039;s &quot;Metamorphoses&quot; in his characterization of Troilus in bk. 3, examining the nature of masculinity by depicting Troilus as a &quot;man trapped between two literary modes of loving.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261712">
    <dcterms:title><![CDATA[&#039;It Is True Art To Conceal Art&#039;: The Episodic Structure of Chaucer&#039;s &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[FranT contains a system of alternating parallel events--troth-plighting, complaint, and compassionate help--repeated in threes, reinforcing the theme of &quot;gentilesse.&quot;  The &quot;trouthe&quot; and &quot;complaint&quot; episodes show a &quot;progressive decline,&quot; but the &quot;helpers&quot; episodes demonstrate a contrasting ascendancy brought about by &quot;gentilesse practiced,&quot; thus making &quot;gentle deeds&quot; a major force in the Tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268668">
    <dcterms:title><![CDATA[&#039;It lyth nat in my tonge&#039; : Occupatio and Otherness in the Squire&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The Squire&#039;s &quot;bad use of occupatio and his self-conscious admissions of rhetorical inadequacy&quot; preserve the foreign, &quot;acknowledging Mongol cultural differences but failing to clarify the terms on which such differences rest.&quot; Through &quot;this rhetoric of failure,&quot; SqT suggests the limitations of the Squire&#039;s English and of the English language itself. SqT is &quot;unified not by its narrative elements but . . . by the way its linguistic anxieties are revealed and processed.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270822">
    <dcterms:title><![CDATA[&#039;It may nat be&#039;: Chaucer, Derrida, and the Impossibility of Gift]]></dcterms:title>
    <dcterms:description><![CDATA[Similar to gift giving as theorized by Jacques Derrida (in response to Marcel Mauss), the dividing of the fart in SumT is &quot;an impossible&quot; that prompts logical deliberation and logocentric reflection. Linked via punning, the giving of money in SumT is analogous to fart dividing, so the fart scene is an apt &quot;coda&quot; to the Tale. Both gifts-that-are-non-gifts align with the concerns of exchange, gifting, and language in FranT, occupatio in SqT, and the tale-telling contest of CT.]]></dcterms:description>
</rdf:Description></rdf:RDF>