<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/262458">
    <dcterms:title><![CDATA[&#039;Lippijn&#039;: A Middle Dutch Source for the &#039;Merchant&#039;s Tale&#039;?]]></dcterms:title>
    <dcterms:description><![CDATA[A previously untranslated Middle Dutch Play, &quot;Lippijn,&quot; is possibly a source for MerT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273171">
    <dcterms:title><![CDATA[&#039;Listeth, Lordes&#039; and &#039;Herkneth&#039;: Chaucer&#039;s Direct Address in &#039;The Tale of Sir Thopas&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates uses of the words of address &quot;heren,&quot; &quot;herken,&quot; &quot;herknen,&quot; &quot;listen,&quot; and &quot;listenen&quot; throughout CT to find out differences of usage among them.  Points out the peculiarity in the choices of such words in Th and discusses Chaucer&#039;s intention in these choices, taking into account the issue of orality and literacy in late-medieval literary culture.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268320">
    <dcterms:title><![CDATA[&#039;Little Troilus&#039;: Heroides 5 and Its Ovidian Contexts in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Fumo analyzes Chaucer&#039;s use of Ovid&#039;s Heroides 5 (Oenone&#039;s letter to Paris) in TC, discussing Chaucer&#039;s sustained and allusive use of this text and its &quot;metanarrative function&quot; in the structure of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267866">
    <dcterms:title><![CDATA[&#039;Lo How I Vanysshe&#039;: The Pardoner&#039;s War Against Signs]]></dcterms:title>
    <dcterms:description><![CDATA[Williams assesses the Pardoner&#039;s abuses of a wide range of signs, including words, relics, and the sacrament of the Eucharist, arguing that the Pardoner is &quot;antisemiotic&quot; and perverse in his privileging of signs over what they signify.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265881">
    <dcterms:title><![CDATA[&#039;Lo, Swilk a Complyn&#039;: Musical Topicality in the Reeve&#039;s and Miller&#039;s Tales]]></dcterms:title>
    <dcterms:description><![CDATA[The names of the students in RvT recall the court musician John Aleyn, contemporary of Chaucer and composer of the motet &quot;Sub arturo plebs.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[The self-conscious Englishness of the motet--plus its inclusion of the name Nicholas--correlates in intriguing ways with musical allusions in RvT and  MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263154">
    <dcterms:title><![CDATA[&#039;Logos&#039; and &#039;Physis&#039;--The Word in the World: Poetic Uses of the Stars during the Middle Ages and the Renaissance]]></dcterms:title>
    <dcterms:description><![CDATA[To Chaucer, Dante, Henryson, and Milton, the heavens were a celestial text, and movers of the spheres governed earthly affairs.  Astral configurations allegorized to serve theological ends show the poets using accepted interpretations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268651">
    <dcterms:title><![CDATA[&#039;Loi&#039; and &#039;Foi&#039; in The Man of Law&#039;s Introduction, Prologue, and Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The various parts of MLPT &quot;cohere around the multiple meanings of &#039;law,&#039;&quot; although the &quot;Introduction&quot; was still being shaped.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264770">
    <dcterms:title><![CDATA[&#039;Lollius&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The name &quot;Lollius&quot; (from &quot;loll&quot; &quot;to hang out the tongue&quot;) is Chaucer&#039;s punning attempt to imitate Boccaccio&#039;s name in English (&quot;boccaccio&quot; &quot;ugly mouth&quot;), as well as to create a plausible sounding Latinate name for his supposed author.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267300">
    <dcterms:title><![CDATA[&#039;Loo, Lordes Myne, Heere Is a Fit!&#039; : The Structure of Chaucer&#039;s Sir Thopas]]></dcterms:title>
    <dcterms:description><![CDATA[J. A. Burrow has demonstrated that Th falls into three fits of 18, 9, and 4.5 stanzas, but does not identify the complementary pattern in the number of lines.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265896">
    <dcterms:title><![CDATA[&#039;Love Can No Frenship&#039;: Erotic Triangles in Chaucer&#039;s &#039;Knight&#039;s Tale&#039; and Lydgate&#039;s &#039;Fabula duorum mercatorum&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In KnT, courtly love seems antithetical to brotherhood in arms, but the eventual disposal of Emelye reinstates male friendship.  Lydgate offers a related, more explicit model of supposedly benign homosocial exchange.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269863">
    <dcterms:title><![CDATA[&#039;Love should end with hope&#039;: Courting and Competition in The Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The price of love for Palamon  and Arcite in KnT is violence and death, a feature of the &quot;gender/violence/courtship paradigm&quot; of medieval courtly literature  that continues into the present, as evident in Brian Helgeland&#039;s &quot;A Knight&#039;s Tale.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264919">
    <dcterms:title><![CDATA[&#039;Love that oughte ben secree&#039; in Chaucer&#039;s &#039;Troilus&#039;&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer increases Boccaccio&#039;s emphasis on the social situation of the lovers to dramatize the separation between personal and public lives.  Pandarus, ever conscious of the social context, trains Troilus as the &quot;literary&quot; lover.  The action reflects repetitive romance patterns and shows both the beauty and sincerity, and the strain and inconsistency of a literary love in a normal social scene.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267132">
    <dcterms:title><![CDATA[&#039;Love&#039;s Altar Is the Forest Glade&#039; : Chaucer in Light of Dafydd ap Gwilym]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how Dafydd&#039;s &quot;connections, and the lack of them, with Chaucer . . . illuminate the English author.&quot; The poets share modal and conceptual similarities, but they differ in style and genre. Chaucer is less a poet of nature than is Dafydd and less a social and poetic revolutionary.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262546">
    <dcterms:title><![CDATA[&#039;Lovers&#039; Consolations of Philosophy&#039; in Boccaccio, Machaut, and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Boccaccio&#039;s &quot;Elegia di Madonna Fiammetta&quot; and Machaut&#039;s &quot;Jugement dou Roy de Behaingne&quot; parody Boethius&#039;s &quot;Consolation of Philosophy&quot; as &quot;a source of humor and as a means of characterization.&quot;  Troilus&#039;s Boethian soliloquy (TC 4.960-1082) exploits and extends this medieval convention.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261309">
    <dcterms:title><![CDATA[&#039;Loves Hete&#039; in the Prioress&#039;s Prologue and Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Considers whether the Prioress was capable of &quot;love celestial,&quot; examining her invocation to the Virgin Mary and suggesting that the heaviness of Mary&#039;s pregnancy is analogous to the Prioress&#039;s need to be delivered of her tale.  In PrT, &quot;affective piety&quot; is preferred to intellectualism, and speech/song, love/hate are opposed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263355">
    <dcterms:title><![CDATA[&#039;Lust&#039; and &#039;Lore&#039; in Gower and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Both poets move between extremes of &quot;lust&quot; (delight, pleasure,love) and &quot;lore&quot; (the wisdom of the past).  Gower sees lore as a passive standard, while Chaucer questions its relevance and efficacy as a moral guide.  Chaucer exhibits extremes, from the unrelieved moral message of ParsT to the ironic subtleties of his more popular narratives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270325">
    <dcterms:title><![CDATA[&#039;Lyarde&#039; and Goliard]]></dcterms:title>
    <dcterms:description><![CDATA[Presents the text of the Middle English poem, &quot;Lyarde,&quot; discussing it in light of Goliardic satire and identifying instances where the poem shares themes with parts of CT:  the &quot;sexual superiority&quot; of clerics (the Monk in MkP and NPE), wives&#039; control of  their sexually unsatisfactory husbands (WBP), and, more generally, the &quot;senex amans&quot; motif and anti-fraternal satire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273188">
    <dcterms:title><![CDATA[&#039;Lybeaus Desconus&#039;: Se faire un nom dans la chevalerie arthurienne]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the  connection among name, birth, and personal achievements. The study is based on &quot;Lybeaus Desconus,&quot; but also draws on other medieval sources such as HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271149">
    <dcterms:title><![CDATA[&#039;Lyke Chaucers Boye&#039;: Poetry and Penitence in Gascoigne&#039;s &#039;Grief of Joye&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Influenced by courtly Chaucerian conventions earlier in his career, George Gascoigne emulated Chaucerian penitential seriousness in &quot;The Grief of Joye.&quot;  Laam comments on Gascoigne&#039;s and George Puttenham&#039;s uses of Chaucer, and briefly explores the reception of Chaucer&#039;s Adam.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262729">
    <dcterms:title><![CDATA[&#039;Maad Moore Subtilly&#039;: The &#039;Squire&#039;s Tale&#039; and the Critics]]></dcterms:title>
    <dcterms:description><![CDATA[Supports the research of J. D. North by attesting that the astrological structure of SqT can be perceived through purely literary means, i.e., without astrological training or predisposition.]]></dcterms:description>
    <dcterms:description><![CDATA[Innes suggests further that, far from being an ancillary aspect of the tale, the astrological referents define the poem&#039;s structure and are integral to, and even emblematic of, the aesthetic of CT as a whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265351">
    <dcterms:title><![CDATA[&#039;Make a Mark That Shows&#039;: Orphean Song, Orphean Sexuality, and the Exile of Chaucer&#039;s Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[Genius&#039;s discourse on Orpheus in Jean de Meun&#039;s &quot;Roman de la Rose&quot; provides a vocabulary with which to address the sexuality of Chaucer&#039;s Pardoner.  Genius&#039;s views on language, law, homosexuality, and art illuminate similar issues in PardT, linking procreation and writing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270624">
    <dcterms:title><![CDATA[&#039;Maked na moore&#039;: Editing and Narrative]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how the Manly-Rickert edition of CT &quot;undoes its own arguments about textual history by noting its own textual history of doubt and contingency,&quot; suggesting that Manly and Rickert &quot;tell stories&quot; about the composition of CT and that the death of Rickert before completion of the work parallels Chaucer&#039;s own death before completion of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270779">
    <dcterms:title><![CDATA[&#039;Maken Melodye&#039;: The Quality of Song in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts human song and birdsong in GP, NPT, MilT, PrT, and PF: humans employ reason to understand and appreciate music, while birds sing purely for pleasure. Generally, the human voice is &quot;an indicator of how Chaucer&#039;s characters misuse their voices to celebrate or pursue pleasure,&quot; and most of Chaucer&#039;s pilgrims are &quot;inappropriate music makers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263311">
    <dcterms:title><![CDATA[&#039;Making Strange&#039;: The Narrator (?), the Ending (?), and Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[An &quot;ideological approach&quot; to TC demands the appropriation of discordant elements by a single dominant principle; a rhetorical analysis of the ending of TC, when combined with structuralist categories, suggests that Chaucer engaged in a multiple defamiliarization.  This invites active, interpretative response from the audience, rather than simple assent or passive reception.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263599">
    <dcterms:title><![CDATA[&#039;Makyng&#039; in Comedy: &#039;Troilus and Criseyde&#039; V, 1788]]></dcterms:title>
    <dcterms:description><![CDATA[The prayer for might to &quot;make in som comedye&quot; (TC 5.1788) is not a scribal error but an indication that Chaucer may have seen the poet, like God, as a creator who enters his own fictive world and creates from &quot;within&quot; it.]]></dcterms:description>
</rdf:Description></rdf:RDF>