<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/263835">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Fortune&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Those who insist on reading historical allusions into For&#039;s concluding stanza miss C̀haucer&#039;s subtle plea that charity, and not Fortune&#039;s favor, be the motivating force in human affairs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265681">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Franklin&#039;s Tale&#039; and &#039;Sir Orfeo&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[FranT was influenced by &quot;Sir Orfeo,&quot; especially in the illustrations produced for Aurelius&#039;s benefit by the Clerk of Orleans.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263509">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Franklin&#039;s Tale&#039; and &#039;The Tempest&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Treats clapping as a spell-breaking device, magic shipwrecks, chastity, and adultery as &quot;reverse correspondences&quot; in FranT and &quot;The Tempest.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269298">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Franklin&#039;s Tale&#039; Seen in the Context of the Tales About Calumniated Women]]></dcterms:title>
    <dcterms:description><![CDATA[Wicher tallies a number of folktale motifs in FranT and argues that they are rationalized or obscured in ways that qualify the exemplary value of the Tale. Central is the motif of the &quot;rash promise given to a supernatural suitor,&quot; with Arveragus, Aurelius, and the clerk functioning as &quot;avatars&quot; of the husband figure (and paralleling the three females in WBT). Wicher comments on other folktale elements in WBT, ClT, and MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266236">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Franklin&#039;s Tale&#039;: &#039;Trouthe,&#039; &#039;Routhe,&#039; and the &#039;Rokkes Blakke&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In FranT, the seriatim pity of the characters makes it possible for others to move through the worldly truth that it is necessary to suffer in time, toward the greater truth of unchanging stability.  The rocks represent the need for worldly suffering.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262719">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Friar&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Summoner addresses the devil in formal pronouns (you) until he learns the fiend&#039;s true identity; then, he speaks to him informally (thou).  The devil, however, is consistently formal in his own usage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261935">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Friar&#039;s Tale&#039;, D.1377 and 1573]]></dcterms:title>
    <dcterms:description><![CDATA[The term &quot;rebec&quot; or &quot;ribib(l)e&quot;, used by the Summoner to insult the old woman, meant fiddle, and then a woman with a shrill voice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265156">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;fyn lovynge&#039; and the Late Medieval Sense of &#039;fin amor&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[By the fourteenth century &quot;fin amor&quot; was associated with &quot;legitimate married love and...Christian charity.&quot;  Thus, when the God of Love in the Prologue to LGW refers to &quot;fyn loving,&quot; Chaucer&#039;s meaning (whether ironic or not) is that of an ideal love.  The ambiguous presentation here is another evidence of the difficulties of the poem in its concept of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272752">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;General Prologue&#039; as History and Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Treats GP as a record of social history, focusing on the economic information available in the descriptions of the pilgrims, particularly as it is evident in the work they do and the status they hold in relation to land, the Church, and trade. Treats the pilgrim Chaucer as a civil servant.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263720">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;General Prologue&#039; to the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In GP 6 &quot;inspired&quot; evokes the Vulgate Gen. 2:7, suggesting Lenten spiritual renewal and the natural regenerative effect of the west wind in springtime.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263458">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;General Prologue&#039;, A 673 &#039;Burdoun&#039; and Some Sixteenth-Century Puns]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Burdoun&quot; as an obscene pun in Chaucer&#039;s description of the Pardoner in the GP is supported in Shakespeare&#039;s &quot;Two Gentlemen of Verona&quot; and even more strikingly in Wyatt&#039;s poem &quot;Ye Old Mule&quot;.  The latter shows the ribald possibilities of the word as either &quot;a burden&quot; or &quot;a phallus&quot;.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269450">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Gentil&#039; with a Focus on Its Modal Implication]]></dcterms:title>
    <dcterms:description><![CDATA[Nakao examines uses of gentil in TC, MerT, and FranT, gauging the level of subjectivity involved on the part of the character, the narrator, and/or the author, modified by the audience&#039;s subjective understanding. Poses a &quot;double-prism&quot; structure through which such evaluative terms gain valence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272937">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Gentilesse&#039;: A Forgotten Manuscript, with Some Proverbs]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the contents of a page in Nottingham University Library, MS ME LM 1, that includes a &quot;genuine witness&quot; to Gent and several English and Latin proverbs,; also shows that the version of Gent in Cambridge University Library Gg. 4.27.1b &quot;has no independent textual value.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266618">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Ghoast&#039; and Gower&#039;s &#039;Confessio Amantis&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Chaucer&#039;s Ghoast,&quot; published in 1692, is a rendering of twelve stories from Gower; it has nothing to do with Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261907">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Hende Nicholas&#039;: A Possible Identification]]></dcterms:title>
    <dcterms:description><![CDATA[Hende Nicholas of MilT and Frere N. Lenne, a source of &quot;Astr,&quot; both refer to the Oxford astronomer and mathematician Nicholas of Lynne.  This is borne out by chronological, local, and occupational similarities among the three.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262117">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Familiar with the &quot;visual and verbal labyrinth traditions&quot; and their metaphorical significances, Chaucer incorporates in HF a controlling labyrinthine uncertainty, chaos, and obscurity in its &quot;disoriented turnings back and forth, its paradoxical incorporation of order and disorder, its emphasis on process rather than product, on path rather than pattern.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[This uncertainty permits a wide range of valid interpretations, all controlled through the labyrinth pattern.  Chaucer&#039;s sources--Dante, Virgil, and Boethius--all provide labyrinthine models.]]></dcterms:description>
    <dcterms:description><![CDATA[HF perverts and parodies the sources in a &quot;bright comic approach to grave matters,&quot; which focuses on a &quot;superficially unthreatening labyrinthine microcosm&quot; but implies serious epistemological problems for the poet/reader, crafter/interpreter of the &quot;labyrinth of words.&quot;  Doob compares sources and gives a reading of HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263289">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In the first line of HF, &quot;say,&quot; the reading of the better texts, is preferable to that generally adopted, &quot;singen.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265394">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;House of Fame&#039; and Saint Augustine]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s HF, an allegory, is his &quot;one major excursion in the territory usually associated with Dante.&quot;  Schembri explores Augustinian iconography in the poem, looking particularly at Chaucer&#039;s treatment of the Dido story, the Proem to HF 2, and the description of the &quot;house&quot; of Fame.  Chaucer &quot;echoes&quot; St. Augustine but does not refer to him overtly.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270298">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;House of Fame&#039; and the &#039;Rota Virgilii&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that HF is organized and coherent:  it is consistently concerned with poetic art, its tripartite structure is based on the &quot;rhetorical doctrine of three styles,&quot; and the styles correlate with the &quot;three principal works&quot; of Virgil&quot; (&quot;Aeneid&quot;/epic, &quot;Georgics&quot;/didactic, and &quot;Bucolics&quot;/third genre).  In his &quot;Poetria,&quot; John of Garland schematizes this as the &quot;Rota Virgilii,&quot; and Dane reads HF as Chaucer&#039;s consideration of literary authority and traditional genres.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272802">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;House of Fame&#039; and the &#039;Via Moderna&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Sketches several underlying principles of the &quot;via moderna&quot; or Ockhamist reasoning (limitless power of God and three-value logic) and argues that HF rejects this &quot;mode of thought.&quot; In the dream vision, Geffrey finds himself in a &quot;kind of parody of the transcendental journey&quot; which is also a &quot;negative lesson&quot; about skepticism for Chaucer&#039;s audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263558">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;House of Fame&#039; and the Dream-Journey of Thomas Mann&#039;s &#039;Joseph&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Without arguing that Chaucer was a &quot;source&quot; for Mann, Riehle discusses stylistic and thematic parallels between HF and the Joseph novels.  The epic humor of both Chaucer and Mann &quot;reflects their deep sympathy with human life.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263801">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;House of Fame&#039; and the French Palais de Justice]]></dcterms:title>
    <dcterms:description><![CDATA[Architectural details, including rows of pillars and statues in Fame&#039;s hall, are probably exaggerations of the Palais de Justice, which Chaucer had seen in 1377.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264951">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;House of Fame&#039; and the Poetics of Inflation]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s concerns in HF are metalinguistic by drawing an analogy between verbal inflation (high style) and monetary inflation (which was rampant in Chaucer&#039;s day).  Both words and coins are arbitrary signs and mediums of exchange; moreover, words, like coins, are &quot;struck&quot; (&#039;aer percussus&#039;).  Chaucer shows that manipulations of language, like manipulations in the value of currency, are a form of tyranny.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266731">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;House of Fame&#039; as a Menippean Satire on the Philosophical/Theological Ideas of the Fourteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[The clash of realist Thomistic Christianity (Dante) and nominalism (Ockham) provides the basis of Chaucer&#039;s exuberant satire on philosophy, linguistics, classical tradition, the state of the Church, and other late-fourteenth-century issues.  HF contrasts with treatment of the same matter in TC (serious) and NPT (comic).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263287">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;House of Fame&#039;, the Apocalypse, and Bede]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer transforms Bede&#039;s commentary on the symbolism in Saint John&#039;s vision.  Chaucer twists the beryl, the eagle, the four beasts, the seven stars, and numerology, giving a sense that Lady Fame is an unlawful ruler.  HF is purposely unfinished.]]></dcterms:description>
</rdf:Description></rdf:RDF>