<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/273764">
    <dcterms:title><![CDATA[Now Welcome Summer: Three Songs for Unison Voices and Piano.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat records indicate that this is a score for three pieces of choral music: the roundel from the conclusion of PF (here titled &quot;Now Welcome&quot;), along with &quot;Sweet Rose of Virtue&quot; by William Dunbar and &quot;Pleasure It Is.&quot; by William Cornish.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273763">
    <dcterms:title><![CDATA[Le &quot;Bleu Chevalier&quot; de Froissart et Le &quot;Livre de la Duchesse&quot; de Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the dates of BD and Jean Froissart&#039;s &quot;Dit dou Bleu Chevalier&quot; and explores their similarities, arguing that Froissart&#039;s poem inspired the central idea (&quot;l&#039;idée centrale&quot;) and many other features of Chaucer&#039;s poem--aspects of characterization, narrative perspectives, and a number of specific details.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273762">
    <dcterms:title><![CDATA[The Syndrome of Masochism in Chaucer&#039;s Pardoner: Synopsis of the Pardoner.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; no information available.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273761">
    <dcterms:title><![CDATA[[Sentence Structure in Chaucer&#039;s Prose.]]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273760">
    <dcterms:title><![CDATA[I Racconti di Canterbury.]]></dcterms:title>
    <dcterms:description><![CDATA[Translates CT into Italian prose. Reprinted in various editions, complete and selected.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273759">
    <dcterms:title><![CDATA[&quot;Chaucer&#039;s Normalized Diction: A Comparison of Recurring Phrases in Chaucer and &quot;Beowulf&quot; to Determine the Validity of the Magoun Thesis.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Tabulates and analyzes Chaucer&#039;s &quot;normalized diction,&quot; i.e., a &quot;diction that is very repetitive and free from syntactic eccentricity, a diction that utilizes the same words to express the same ideas in different contexts.&quot; Compares and contrasts Chaucer&#039;s usage with that of the &quot;Beowulf&quot;-poet and Milton, deducing that similarities between Chaucer&#039;s usage and that of the &quot;Beowulf&quot;-poet challenge some of the criteria of the theory of oral composition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273758">
    <dcterms:title><![CDATA[A Critical Reading of Chaucer&#039;s &quot;Knight&#039;s Tale&quot; with the Aid of Boccaccio&#039;s &quot;Teseida.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes portions of Boccaccio&#039;s &quot;Teseida&quot; and assesses parallel portions of KnT in light of these summaries, emphasizing Chaucer&#039;s &quot;reworking&quot; of his source in characterizing Palamon, Arcite, and Theseus through &quot;symbolic imagery.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273757">
    <dcterms:title><![CDATA[Thomas Tyrwhitt and &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Evaluates the quality of Thomas Tyrwhitt as a scholar, examining his life, his early works, his edition of CT, and the ongoing reception of this edition. Concludes that Tyrwhitt was &quot;one of the finest examples of the eighteenth-century gentleman-scholar.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273756">
    <dcterms:title><![CDATA[The Evolution of a Concept: &quot;Gentilesse&quot; in Chaucer&#039;s Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates Chaucer&#039;s concept of &quot;gentilesse&quot; in light of his sources in Boethius, Dante, and Jean de Meun, and compares his notion with those found in the poetry of his contemporaries. Treats &quot;gentilesse&quot; as a secular virtue, although similar to several Christian ideals, and relabels the &quot;Marriage Group&quot; of CT the &quot;&#039;Gentilesse&#039; Group,&quot; while assessing the concept throughout Chaucer&#039;s corpus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273755">
    <dcterms:title><![CDATA[&quot;Double-Entendres&quot; in &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys scholarship concerning Chaucer&#039;s word-play, describes the place of &quot;double-entendre&quot; in rhetorical tradition, and explicates 204 of Chaucer&#039;s word-plays in CT, concluding that there is some correlation between punning and the bawdy tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273754">
    <dcterms:title><![CDATA[&quot;This Litel Spot of Erthe&quot;: Time and &quot;Trouthe&quot; in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on the tension in TC between the &quot;two dimensions of human experience: the temporal and the eternal,&quot; examining the &quot;paradoxical position&quot; of humans as they seek to &quot;discover and affirm&quot; a stable and permanent world while existing as creatures who are &quot;naturally temporal and frail.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273753">
    <dcterms:title><![CDATA[The &quot;Artes Praedicandi&quot; and Chaucer&#039;s Canterbury Preachers.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies sermon rhetoric in CT, identifying its roots in preaching handbooks and considering its value for understanding aspects of structure, style, and characterization in SNT, NPT, ParsT, PardT, WBT, and SumT, treating the Pardoner, the Wife of Bath, and the friar of SumT as Chaucer&#039;s &quot;perverse preachers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273752">
    <dcterms:title><![CDATA[Chaucer&#039;s Treatment of the Gods in Relation to Source, Analogue, and Tradition.&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s references and allusions to pagan gods in BD, Mars, KnT, TC, and MerT, emphasizing his innovations that are evident in light of source-and-analogue analysis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273751">
    <dcterms:title><![CDATA[The Rhetorical Moment: Studies in the Development of the First-Person Narrative Mode in Chaucer&#039;s Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies Chaucer&#039;s uses of first-person narration in light of rhetorical tradition and medieval notions of the individual, examining PF as the site of the first &quot;fully realized&quot; instance of Chaucer&#039;s &quot;characteristic narrative mode,&quot; reading TC as &quot;about the experience of its teller in the act of telling the tale,&quot; and CT as a &quot;collection of &#039;narrative moments&#039;&quot; that develop &quot;earlier modes of narration.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273750">
    <dcterms:title><![CDATA[Chaucer&#039;s Concept of Death in &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the attitudes toward death depicted in ABC, Purse, HF, and Bo, and studies CT for evidence of what Chaucer&#039;s own opinion of death may have been.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273749">
    <dcterms:title><![CDATA[The &quot;Canterbury Tales&quot; and &quot;Il Decamerone.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Adduces evidence of the influence of Boccaccio&#039;s &quot;Decameron&quot; on CT by collecting all available indications of similarity--instances of borrowing and less specific parallel details.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273748">
    <dcterms:title><![CDATA[The Minor Poems of Stephen Hawes.]]></dcterms:title>
    <dcterms:description><![CDATA[Edits the minor poem of Stephen Hawes, with notes that include recurrent comments on the influence of Chaucer and Lydgate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273747">
    <dcterms:title><![CDATA[The Protagonist as Sufferer: A Critical Inquiry into a Topos in Chaucer and Spenser.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the topos of the sufferer as protagonist in classical, Christian, and late Latin sources and explores it &quot;as an element&quot; in KnT, TC, and Edmund Spenser&#039;s &quot;Faerie Queene,&quot; arguing that Chaucer tends to emphasize &quot;the value of acceptant suffering&quot; while Spenser is more concerned with the &quot;value of action.&quot; Considers the imagery of suffering as well as suffering as  psychological state.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273746">
    <dcterms:title><![CDATA[Music in Chaucer: His Knowledge and Use of Medieval Ideas About Music (Volumes I and II).]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the impact and significance of music in Chaucer&#039;s works in light of three traditions: philosophic, Scriptural, and poetic, concluding that &quot;Chaucer&#039;s music is far more meaningful and amusing than critics have thought,&quot; and the &quot;major imagery&quot; of his work, consistently identifying or vivifying &quot;the moral nature and humor of persons, settings, and themes.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273745">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrative Pose: The Formative Phase.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies Chaucer&#039;s narrative personae in BD and PF, identifying several traits that become &quot;regular marks&quot; of his later self-characterizations: a bookish reteller who interjects personal comments, &quot;comic self-depreciation,&quot; and ambiguous &quot;fascination&quot; with love but without personal involvement.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273744">
    <dcterms:title><![CDATA[Griselda: Aarne-Thompson Tale Type 887: Analogues of Chaucer&#039;s &quot;Clerk&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Studies fourteenth- and fifteenth-century versions of the Griselda story, including ClT, arguing that it does not derive from the Cupid and Psyche myth and that several versions thought to be analogues are not in fact so.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273743">
    <dcterms:title><![CDATA[Two Scots Chaucerians: Robert Henryson, William Dunbar.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the lives and works of Robert Henryson and William Dunbar, with recurrent attention to their borrowings from Chaucer and their similarities to and differences from the earlier poet. Includes a select bibliography (pp. 45-48).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273742">
    <dcterms:title><![CDATA[Four Fragments from the &quot;Canterbury Tales&quot; by Geoffrey Chaucer (c. 1340-1400): High Voice and Flute, Clarinet, Harpsichord (Piano).]]></dcterms:title>
    <dcterms:description><![CDATA[Four-part musical score for selections (in Middle English) from GP, 1-42, the GP descriptions of the Knight and the Squire, and WBP 3.1-34. The introductory materials include comments on expression, tone, and pronunciation, with Trimble&#039;s remark that &quot;utter accuracy in pronunciation&quot; need not be achieved. WorldCat records indicate that the score was first printed in 1958 (in facsimile), and that sound recordings were published in 2001 and 2017.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273741">
    <dcterms:title><![CDATA[The Story of English.]]></dcterms:title>
    <dcterms:description><![CDATA[A revised version of the 1952 publication, with largely revamped discussions of the &quot;Geography of English&quot; and &quot;The American Language,&quot; with the latter standing alone in a new section. This revised edition expands the list of works consulted, the index, and the list of words and expressions discussed, but essentially follows the format and details of the original, with its divisions into The Past, The Present, and The Future. &quot;The Chaucerian Era&quot; (pp. 44-51; 52-59 in the original) emphasixes Chaucer&#039;s &quot;modernistic tendencies,&quot; i.e., his innovations in a period of rapid change.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273740">
    <dcterms:title><![CDATA[Geoffrey Chaucer&#039;s &quot;A. B. C.&quot;: Called &quot;La &quot;Priere de Nostre Dame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[An art-book version of ABC, limited to 1000 copies, with facing-page Middle English text taken from the Kelmscott Chaucer and verse translation into Modern English by Dave Haselwood. The font of the Middle English text derives from &quot;lettre batarde&quot; and the illustrated initials from fifteenth-century publications from Ulm, Germany, &quot;probably the work&quot; of woodcutter and printer, Johan Zainer.]]></dcterms:description>
</rdf:Description></rdf:RDF>