<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/273637">
    <dcterms:title><![CDATA[The Topic of the &quot;Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that KnT is a heightened, courtly &quot;particularization&quot; of a fundamental aspect of the human condition: &quot;the disorderly promptings of carnal love and their disastrous effects.&quot; Considers the imagery of the poem (Christian, Boethian, fire, and animal), various structural parallels of plot and character, and recurrent representations of the continuities of love and death, suggesting that the inseparability of the two underlies human affairs. Comments on Chaucer&#039;s adaptations of Boccaccio, the temple scenes, and the Knight as narrator.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273636">
    <dcterms:title><![CDATA[The Ironic Design of Fortune in &quot;Troilus and Criseide.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Locates and assesses a prevailing irony in TC: the narrator and each of the major characters follows the &quot;same pattern&quot; of early knowledge of Fortune&#039;s instability, &quot;followed by self-deception, and eventual submission to the facts.&quot; Love and truth only seem to delay Fortune in human affairs, although Chaucer celebrates the &quot;unstable and attractive world.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273635">
    <dcterms:title><![CDATA[The F-Fragment of the &quot;Canterbury Tales&quot;: Parts I and II.]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets SqT and FranT as &quot;expressions of their tellers,&quot; with the latter being an &quot;instructive modification&quot; of the &quot;Squire&#039;s attitude toward life.&quot; Contrasts the uses of rhetorical devices in SqT and KnT in order to show the Squire&#039;s youthful, narcissistic failure to control his material and his own attraction to romance, magic, and fantasy. The Franklin is similarly attracted, but wisely controls himself and his rhetoric, indicating his awareness of the &quot;social context of narration&quot; and the need to engage his audience responsibly.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273634">
    <dcterms:title><![CDATA[Rhetorical &quot;Amplification&quot; and &quot;Abbreviation&quot; and the Structure of Medieval Narrative.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes structural devices found in the medieval &quot;artes poeticae,&quot; for example, those in treatises by Matthew of Vendome, Geoffrey of Vinsauf, and John of Garland, illustrating them with various literary works, including works by Chaucer. Discusses at greatest length the uses of amplification and abbreviation in PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273633">
    <dcterms:title><![CDATA[The Application of an Ontological Perspective to the Literary Interpretation of Works Drawn from Several Periods.]]></dcterms:title>
    <dcterms:description><![CDATA[Illustrates how literary works &quot;can be read existentially from the point of view of the reader&#039;s ontological concern with them,&quot; discussing James Joyce&#039;s &quot;Clay,&quot; William Blake&#039;s &quot;The Little Black Boy,&quot; and WBPT. Reads WBT as a &quot;reflection of the meaning of Alice&#039;s own experience in marriage&quot; and &quot;her transcendence of her Martian-Venerian nature.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273632">
    <dcterms:title><![CDATA[Chaucer&#039;s Franklin&#039;s and the Tale of Madanasena of Vetalapachisi.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares FranT with the tenth tale (Madassena and Her Rash Promise) of the &quot;Vetalapachisi,&quot; identifying common motifs (rash promise, promise to return, and noble theft) and differences in frame, characterization, and setting. Observes relations with Boccaccio&#039;s &quot;Filocolo.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273631">
    <dcterms:title><![CDATA[The Ambivalence of Truth: Chaucer&#039;s &quot;Clerkes Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the combination of religion and secularity in ClT, discussing its fusion of ideals and practical realities as Chaucer&#039;s means to increase the ambivalences of his sources. The tension between the Clerk&#039;s moralization of the Tale and its action increases the ambivalence, as does the Envoi, perhaps a result of the Clerk&#039;s own disturbed awareness of the &quot;discrepancy between the ideal and real worlds&quot; and maybe the reason he is on pilgrimage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273630">
    <dcterms:title><![CDATA[Some Fifteenth-Century Images of Death and Their Background.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies and analyzes the motifs and imagery of death in England in the fourteenth century to the sixteenth, including discussion of the relatively positive depictions of death in TC and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273629">
    <dcterms:title><![CDATA[Jack Upland, Friar Daw&#039;s Reply, and Upland&#039;s Rejoinder.]]></dcterms:title>
    <dcterms:description><![CDATA[Edits &quot;Jack Upland&quot; (wrongly attributed to Chaucer from the 16th century to the 18th), along with &quot;Friar Daw&#039;s Reply&quot; and &quot;Upland&#039;s Rejoinder,&quot; with full critical apparatus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273628">
    <dcterms:title><![CDATA[&quot;Namoore of this&quot;: Chaucer&#039;s Priest and Monk.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads NPT as the teller&#039;s attack on the &quot;anti-monastic&quot; Monk (as well as the &quot;indifferent&quot; Prioress), contrasting the &quot;sacerdotal demeanor&quot; of the two clerics and arguing that the NPT is opposed to MkT in both theme and technique, focusing on their depictions of Fortune and the Priest&#039;s mockery of the Monk&#039;s tragedies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273627">
    <dcterms:title><![CDATA[The Pardoner&#039;s &quot;Jape.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the differences between PardP and PardT--differences in genre, atmosphere, and temporal dimension--arguing that they are part of the Pardoner&#039;s efforts to manipulate his audience. Contrasts the self-interested, time-bound play of the Pardoner with the earnest, transcendent rhetoric of ParsPT and with the presiding present-tense game of the Canterbury fiction which is evident in the Host&#039;s words to the Pardoner before and after his performance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273626">
    <dcterms:title><![CDATA[Ideal Fiction: &quot;The Clerk&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Defines ClT as an example of &quot;Ideal Fiction,&quot; generally unpalatable to modern taste, identifying the presence of a manipulator in the plot (Walter), the narrative &quot;distance&quot; achieved through its combination of &quot;ordinariness&quot; and fantasy, the extremeness of the action, its &quot;ideality of invention,&quot; and the flatness of the characters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273625">
    <dcterms:title><![CDATA[The Heroine in &quot;The Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the &quot;artistic function&quot; of Emily in KnT, focusing on her place in the theme of order. As the poem moves from chaos to order, she symbolizes &quot;psychological and cosmic order&quot; and serves as an &quot;exemplar of Fortune.&quot; As &quot;natural woman,&quot; she also is the &quot;object&quot; of courtly love and a &quot;member of society.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273624">
    <dcterms:title><![CDATA[The Chaucerian Text of Jerome &quot;Adversus Jovinianum&quot;: An Edition Based on Pembrock College, Cambridge, MS 234.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the influence of Jerome&#039;s &quot;Adversus Jovinianum&quot; on Chaucer, especially in FranT and WBP, and explains why the Pembrock MS 234, edited here, is &quot;closer to Chaucer&#039;s source manuscript than any of the other&quot; forty-two manuscripts considered for this study.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273623">
    <dcterms:title><![CDATA[Chaucer&#039;s Bilingual Idiom.]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplifies Chaucer&#039;s &quot;homely vocabulary&quot; and &quot;naturalistic choice of words,&quot; identifying roots in both French and native English, and commenting on instances of idiomatic phrases, rogues&#039; speech, &quot;zesty vocabulary,&quot; &quot;oaths and imprecations,&quot; sexual language, etc.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273622">
    <dcterms:title><![CDATA[&quot;He clothed him and fedde him evell&quot;: Narrative and Thematic &quot;Vulnerability&quot; in &quot;Gamelyn.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Connects the &quot;Tale of Gamelyn&quot; to Chaucer with respect to concerns of class, legal, and cultural issues, and focuses on the theme of vulnerability as an important conceit of the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273621">
    <dcterms:title><![CDATA[&quot;The Tale of Beryn&quot;: An Appreciation.]]></dcterms:title>
    <dcterms:description><![CDATA[One scribe included the &quot;Tale of Beryn&quot; in his copy of CT. The Prologue presents Chaucer&#039;s pilgrims after they arrive at Canterbury, and the tale is appropriate to its teller, a merchant. Argues that the &quot;Beryn&quot; author was &quot;an intelligent and attentive reader of Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273620">
    <dcterms:title><![CDATA[Proverbe of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Given his &quot;frequent equivocalness&quot; on matters of high seriousness, there is good reason to believe that Prov, a &quot;riddling poem&quot; (NIMEV 3914), is Chaucer&#039;s work, philologists&#039; objections on the basis of its inaccurate &quot;compace&quot;/&quot;embrace&quot; rhyme notwithstanding.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273619">
    <dcterms:title><![CDATA[Choreographing  &quot;Fin&#039;amor&quot;: Dance and the Game of Love in Geoffrey Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the use of &quot;daunce&quot; in TC in order to explore the way dancing is linked to rhetoric in the interactions between the main characters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273618">
    <dcterms:title><![CDATA[Maximo Manso: Love&#039;s Fool.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Perez Galdos&#039;s &quot;El amigo Manso&quot; (1882) echoes TC in its concern with philosophical consolation, the theme of kinds of knowledge, and the narrator protagonist&#039;s mocking of his mourners in the afterlife. Like Troilus, Manso is an idealistic lover whose beloved does not match his ideal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273617">
    <dcterms:title><![CDATA[Attention and Distraction in Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers medieval understandings of the relationship between attention and distraction or diversion, using several texts, ranging from Augustine to Walter Hilton, Julian of Norwich, and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273616">
    <dcterms:title><![CDATA[The Structure of Chaucer&#039;s Ambiguity.]]></dcterms:title>
    <dcterms:description><![CDATA[Based on Nakao&#039;s earlier book, &quot;The Structure of Chaucer&#039;s Ambiguity&quot; (2004; in Japanese), this republished English version analyzes the &quot;parole aspect of language&quot; within an expanded study of ambiguity in TC. Proposes an original theoretical framework, &quot;double prism structure,&quot; which brings together elements of cognitive linguistics, semantics, and pragmatics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273615">
    <dcterms:title><![CDATA[Praying with Boethius in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s interpretation of Boethius, as shown in two key passages in TC, his translation of Bo, and a significant Bo manuscript, &quot;enables him to present Troilus as a genuinely Boethian hero who channels philosophical insight into religious devotion.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273614">
    <dcterms:title><![CDATA[Emotional Ethics in Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the connection between ethics and emotional response in several Middle English texts, including TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273613">
    <dcterms:title><![CDATA[The Pace of Praise: Might Theology Walk Together with Literature?]]></dcterms:title>
    <dcterms:description><![CDATA[Focusing on TC, argues that Chaucer relied heavily on previous works, primarily Dante&#039;s &quot;Divina commedia,&quot; for theological and linguistic direction. Contends that Chaucer, like Dante, does not merely regurgitate biblical narratives, but expands on them, and states that Chaucer&#039;s works display a sincere devotion to the Virgin, the Crucifixion, and the Resurrection, identified &quot;as characteristically Dantean.&quot; Also discusses ABC and briefly mentions SNT.]]></dcterms:description>
</rdf:Description></rdf:RDF>