<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/272480">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Clerk&#039;s Tale&#039; and Boccaccio&#039;s &#039;Decameron&#039; X.10]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s translations of key phrases in the Griselda story reveal his use of the Boccaccio source material as a way to underscore the &quot;complexity&quot; of the story and the varied authorial voices involved in translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263236">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Clerk&#039;s Tale&#039; and the Monstrous Critics]]></dcterms:title>
    <dcterms:description><![CDATA[The two modes of ClT must not be confused.  The allegorical mode culminates in the Clerk&#039;s moral of Griselda as an example for all Christians, male or female; the literal mode culminates in the Clerk&#039;s implicit criticism of Walter&#039;s imperiousness as husband in the Clerk&#039;s envoy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262451">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Clerk&#039;s Tale&#039; as Political Paradox]]></dcterms:title>
    <dcterms:description><![CDATA[Dante&#039;s advocacy of absolute rule as necessary for a peaceful state (&quot;De monarchia&quot;) was opposed by other fourteenth-century Italian political theorists who saw such a state as tyrannical.  Boccaccio&#039;s treatment of Griselda in &quot;Decameron&quot; implicitly examines absolutism; Petrarch&#039;s &quot;De insigni obedientia et fide uxoris&quot; extends the political dimension of the tale.  ClT dramatizes without resolving this political controversy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265948">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Clerk&#039;s Tale&#039;: A Disrupted Exemplum]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s sympathy toward women is questionable, given the context of ClT and Walter&#039;s dominance over Griselda.]]></dcterms:description>
    <dcterms:description><![CDATA[  This uncertainty is perpetuated by the double narrative of CT, which presents the &quot;Tale&quot; through the voice of a fictional storyteller as well as the voice of the author.]]></dcterms:description>
    <dcterms:description><![CDATA[  It is difficult to realize Chaucer&#039;s view on feminism since he allows Griselda to maintain her identity while placing her in a submissive and passive role.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271975">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Clerk&#039;s Tale&#039;: The Monsters and the Critics Reconsidered]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the tension in ClT between human pathos and clerkly training and intelligence, reading the combination as a depiction of late-medieval &quot;clerkishness.&quot; Additions to his sources and the use of &quot;specialized vocabulary&quot; make Chaucer&#039;s tale appropriate to its narrative and evoke a powerful sense of accumulating narrative pressure, analogous to the pattern found in the tale&#039;s rhyme royal stanzas.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264390">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Com pa me&#039;: A Famous Crux Reexamined]]></dcterms:title>
    <dcterms:description><![CDATA[Despite recent scholarship of MilT that equates Alison&#039;s &quot;pa&quot; (line 3709) with the Wife of Bath&#039;s &quot;ba&quot; (WBT, line 433), the two words should be distinguished.  &quot;Pa&quot; seems to be a shortening of &quot;pax,&quot; the liturgical embrace of Christian love.  In light of the ironic pattern of allusion to the Canticle &quot;pa&quot; is especially fitting.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271441">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Compaint unto Pity&#039; and the Insights of Allegory]]></dcterms:title>
    <dcterms:description><![CDATA[Pity&#039;s &quot;double life&quot; as person and quality &quot;calls attention to the mechanics&quot; of allegory and to one&#039;s &quot;ordinary&quot; experience of pity; through word play, pity is both dead to the frustrated lover and alive to others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272250">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Complaint of Mars,&#039; Line 145: &#039;Venus valunse&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the astrological term &quot;valunse&quot; as it seems to mean something approximating lack, want, or non-being, used by Chaucer in this sense at Mars, line 145.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265492">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Complaint of Venus&#039; and the &#039;Curiosite&#039; of Graunson]]></dcterms:title>
    <dcterms:description><![CDATA[John Shirley&#039;s comments about the relationship of Ven to court scandal have been misconstrued, disguising the poem&#039;s connection to Otto de Graunson&#039;s &quot;Cinq ballades.&quot;  Chaucer used five ballades to realize Graunson&#039;s &quot;curiosite&quot; (intricate workmanship), exploring the diminishing not of love but of composition.  In Ven, memory, though diminished,consoles.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Reading the Past:  Essays on Medieval and Renaissance Literature (Four Courts, 1996), pp. 226-239.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264066">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Complaint to his Purse]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Toune&quot; in line 17 of the poem means &quot;predicament,&quot; not a literal place, just as it stands for an abstract condition in the Harley lyric, &quot;Lenten is come with love to toune.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262679">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Contemporary&#039; Search for &#039;Steadfastnesse&#039; and &#039;Trouthe&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although many of Chaucer&#039;s works are bawdy, modern readers can find contemporary ethical and moral issues resolved or discussed according to Christian values.  &quot;Christlike&quot; faithfulness, steadfastness, and truth underlie TC, WBT, ClT, MerT, and FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263610">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Corones Tweyne&#039; and Matheolus]]></dcterms:title>
    <dcterms:description><![CDATA[Derived from Matheolus&#039;s &quot;Lamentationes,&quot; the two crowns or &quot;corones&quot; in TC 2.1935 are rewards for Troilus&#039;s fidelity in marriage and his heroic death in the Trojan war.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272161">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Corones Tweyne&#039; and the Lapidaries]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets Pandarus&#039;s reference to &quot;corones tweyne&quot; (TC 2.1735) in light of lapidarian tradition, suggesting that it refers to the two kinds of &quot;caraunius&quot; (thunderstone), differently colored gemstones that emblematize Criseyde&#039;s beauty, lightning, and protection from storms.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264152">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Cosyn to the Dede&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer often treats of the discrepancy between intent and words, especially in GP 725-42, PardT, and ParsT.  Philosophically, Chaucer&#039;s view of language is that of a Christian Platonist; he aspires toward a linguistic realism in which intent informs deeds through the ministry of words.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268047">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Cosyn to the Dede&#039;: Further Considerations]]></dcterms:title>
    <dcterms:description><![CDATA[Linguistic and philosophical notions underlying the idea of &quot;cosyn to the dede&quot; fascinate Chaucer and Jean de Meun, who follow Plato and Augustine in accepting that signs reveal ultimate meaning and that myths relate to eternal ideals.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265604">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Court Baron&#039;: Law and &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s office as Justice of the Peace necessitated his close familiarity with the forms and styles of court proceedings available to us in the records of the &quot;Court Baron.&quot;  Braswell notes in such records the frequency of figures similar to Chaucer&#039;s Host, Miller, Reeve, and Cook. Cases in the records are marked by the types of ambiguities and indeterminacies we see in Chaucer&#039;s depictions of his characters, and such court records include testimonies called &quot;tales.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264847">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;deerne love&#039; and the Medieval View of Secrecy in Love]]></dcterms:title>
    <dcterms:description><![CDATA[Although giving the impression of belonging to the world of courtesy, &quot;deerne love&quot; is actually more pertinent to the activities detailed in fabliaux.  But secrecy, even when it would appear to be taken seriously, causes destruction of love and lovers.  While directing Chaucer&#039;s narrative in MilT, it also suggests comically the true nature of the passion.  It also provides a comment on the love described in KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272730">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Droghte of March&#039; in Medieval Farm Lore]]></dcterms:title>
    <dcterms:description><![CDATA[Offers meteorological and folkloric evidence that March was known as a dry month in medieval England, lending verisimilitude to GP 1.2.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261499">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Englished&#039; Georgics]]></dcterms:title>
    <dcterms:description><![CDATA[Explores possibilities for verbal and imagistic influence of Virgil&#039;s Georgics I and II on GP and for thematic influence of Georgics IV on NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263331">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Envoy to Scogan&#039;: &#039;Tullius Kyndenesse&#039; and the Law of Kynde]]></dcterms:title>
    <dcterms:description><![CDATA[Examination of Cicero&#039;s &quot;De amicitia&quot; and the &quot;Somnium Scipionis&quot; clarifies the references in Scog to love, poetry,friendship, and natural law.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262047">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Envoy to Scogan&#039;: The Uses of Literary Conventions]]></dcterms:title>
    <dcterms:description><![CDATA[Scog is successful as an expression of courtly friendship in the particular social circumstances of civil servants&#039; lives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262684">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Faire Cheyne of Love&#039;: The First Model of Mediation in the Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Parodied in MilT, exposed as &quot;disordered and violent&quot; in RvT, Theseus&#039;s &quot;faire cheyne of love&quot; (KnT 2991) is the first of several &quot;images of mediation which cluster in interlocking fashion&quot; throughout CT.  Like other comedies of mediation, CT reveals the ultimate &quot;indeterminacy of order and value.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262018">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Fare-Carte&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The word may denote the better of two kinds of carts in normal manorial use:  a cart used for hauling outside the manor.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266107">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Former Age&#039; and the Fourteenth-Century Anthropology of Craft: The Social Logic of a Premodernist Lyric]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Former Age&quot; emphasizes not so much former innocence as prelapsarian lack of technical knowledge.  Though the speaker takes his stance between the first age and the present, he employs ironic diction, aligning himself with the latter.  Besides recognized sources, Chaucer draws on Scholastic praise of technology, as well as reactions (especially Lollard) against it.  The anti-Wycliffite Roger Dymmok turned anti Royalist by 1398, Norton-Smith&#039;s date for the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272944">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Fortune,&#039; &#039;Truth,&#039; and &#039;Gentilesse&#039;: The &#039;Last&#039; Unpublished Manuscript Transcriptions]]></dcterms:title>
    <dcterms:description><![CDATA[Transcribes witnesses to three of Chaucer&#039;s short poems--&quot;For,&quot; &quot;Truth&quot; (both from Leiden University Library Vossius 9), and Gent (from Cambridge University Library Gg 4 9.27.1b)--all previously unpublished and here supplied from, perhaps, &quot;the final unpublished manuscripts of Chaucer&#039;s Short Poems.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>