<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/275010">
    <dcterms:title><![CDATA[Chaucer&#039;s Aesthetic Resources: Nature, Longing, and Economies of Form.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the epistemology of form as theorized by Boethius, Chaucer, and Kant, particularly in relation to the apprehension of natural beauty. Reads Form Age and For, in the manuscript setting of Cambridge University Library, MS Ii.III.21, as subversive &quot;poetic commentary&quot; on Book II of Boece that interrogates its formal project.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272389">
    <dcterms:title><![CDATA[Chaucer&#039;s Afterlife: Adaptations in Recent Popular Culture]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes between academic and popular versions of Chaucer, defining and discussing various categories of popular intertextuality: adaptations, appropriations, invocations, and citations--diminishing degrees of engagement with original works. Also focuses on select popular materials produced since 1990: detective fiction, filmed adaptations, literature of the African diaspora, and market-driven capitalizing on Chaucer and his image. This popular tradition engages CT almost exclusively among Chaucer&#039;s works, particularly its satire, tale-telling, and pilgrimage motif.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268760">
    <dcterms:title><![CDATA[Chaucer&#039;s Agents : Cause and Representation in Chaucerian Narrative]]></dcterms:title>
    <dcterms:description><![CDATA[Examines agency as theme and narrative technique throughout Chaucer&#039;s corpus, considering the &quot;multifariousness&quot; of the topic. Agency does not refer exclusively to the human will; it also &quot;embraces innumerable forces that operate interdependently&quot; - not only &quot;multiple but also bidirectional.&quot; Chaucer&#039;s works present for consideration the agency of nonhuman forces as they affect human affairs (birds, gods, universals), with parallel attention to humans as both &quot;instigators and instruments&quot; - producers of art and social constructs and respondents to such forces. Often gendered female, Chaucer&#039;s protagonists are at times paradoxically passive, suggesting that human freedom &quot;arises from our ability to confer freedom on our own agents, human and nonhuman.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261658">
    <dcterms:title><![CDATA[Chaucer&#039;s Alchemy: The Pilgrims Assayed]]></dcterms:title>
    <dcterms:description><![CDATA[The final three fragments of CT are united in a purposeful pattern by reference to Jeremiah 6.  Allusion to testing and failure suggests the alchemical metaphor, enabling correlations between the particulars of specific pilgrims and the generality of the Parson&#039;s penitential guide.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270777">
    <dcterms:title><![CDATA[Chaucer&#039;s Alcoholic Drink and The Canterbury Tales: With Particular Reference to Wine and Ale]]></dcterms:title>
    <dcterms:description><![CDATA[Study of wine and ale in CT. In Japanese]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274831">
    <dcterms:title><![CDATA[Chaucer&#039;s Alexander the Great and the &quot;Monk&#039;s Tale&quot;: Reconsidering the Fourteenth-Century Reception of a Pagan&#039;s Tragedy.]]></dcterms:title>
    <dcterms:description><![CDATA[Observes that Chaucer&#039;s treatment of Alexander in MkT is largely consistent with how Alexander is depicted in fourteenth-century romances and monastic allusions. Suggests that Chaucer declines to condemn Alexander as an unworthy pagan, despite being familiar with these traditions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271233">
    <dcterms:title><![CDATA[Chaucer&#039;s Allergy]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer is &quot;constitutionally sensitive&quot; to intellectual realism, preferring sensory experientialism instead. In BD, as in HF and PF, inconclusiveness and tentativeness defer rather than console and encourage a &quot;broader mundane perspective&quot; than is traditional in the dream vision genre.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263463">
    <dcterms:title><![CDATA[Chaucer&#039;s Allusion to the Sermon on the Mount in the &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[MilT 3589-92 alludes to Matt. 5:27-30, where Christ condemns lechery, using the images of hand and eye.  Chaucer uses the same imagery to condemn the lecher Nicholas, whose punishment is to be burned a &quot;hand-brede aboute&quot; his &quot;nether ye.&quot;  The same allusion and imagery appear in ParsT, where lechery is described as the cause of Noah&#039;s flood.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268422">
    <dcterms:title><![CDATA[Chaucer&#039;s Ambiguity in The Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s ambiguous use of words such as &quot;sely,&quot; &quot;gentil,&quot; and &quot;pite&quot; in LGW, clarifying the gap between efforts to define &quot;good women&quot; and their human weaknesses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268231">
    <dcterms:title><![CDATA[Chaucer&#039;s Ambiguity in Troilus and Criseyde: Degrees of the Relation Between Verbal Elements from the Reader&#039;s Viewpoint]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses how and why ambiguity is likely in TC, focusing on the relations between verbal elements such as contiguous structure.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270685">
    <dcterms:title><![CDATA[Chaucer&#039;s Ambiguity in Voice]]></dcterms:title>
    <dcterms:description><![CDATA[Draws from TC examples of how voice contributes to ambiguity, considering how &quot;suprasegmentals&quot; and various phonetic and prosodic features contribute to voice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270751">
    <dcterms:title><![CDATA[Chaucer&#039;s American Accent]]></dcterms:title>
    <dcterms:description><![CDATA[Matthews considers ways of distinguishing between &quot;medieval studies&quot; and &quot;medievalism&quot; (relating the latter to &quot;antimodernism&quot;) and assesses how late nineteenth-century American study of Chaucer &quot;problematizes&quot; the terms. The article contrasts American and British involvement in the Chaucer Society and comments on how the recent &quot;turn to affect&quot; in Chaucer studies parallels earlier treatments of the poet. See Bruce Michelson&#039;s &quot;A Response to David Matthews.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268679">
    <dcterms:title><![CDATA[Chaucer&#039;s Amphibologies and &#039;The Old Man&#039; in The Pardoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Pearcy traces the history and literary use of amphibology-&#039;in Chaucer, a statement capable of two interpretations, uttered by a speaker with supernatural or oracular powers to a listener who can perceive only a meaning at variance with the true intent of the message (TC 4.1406, MkT, NPT, KnT). In PardT, the Old Man uses amphibology to punish the rioters; the trickster Saint Martin of Jean Bodel&#039;s fabliau speaks similarly.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261195">
    <dcterms:title><![CDATA[Chaucer&#039;s Ancestry: Historical and Philological Re-Assessments]]></dcterms:title>
    <dcterms:description><![CDATA[An examination of Chaucer&#039;s original family name, Malyn, casts doubt on previous claims that Chaucer&#039;s family was involved in leather making.  For social and commercial reasons, Chaucer was a more acceptable surname.  Chaucer used Malyn or its variations in his writing in a &quot;self-deprecatory&quot; way.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267655">
    <dcterms:title><![CDATA[Chaucer&#039;s and Faulkner&#039;s Pear Trees: An Arboreal Discussion]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s MerT may have influenced William Faulkner&#039;s &quot;The Sound and the Fury.&quot; Each work presents the pear tree as a central symbol in a plot focused on greed and deception, one comic and the other tragic. Chaucer&#039;s and Faulkner&#039;s narratives also share common themes: &quot;inappropriate love relationships,&quot; physical and spiritual blindness, and tainted sexuality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261846">
    <dcterms:title><![CDATA[Chaucer&#039;s and Gower&#039;s Stories of Lucretia and Virginia]]></dcterms:title>
    <dcterms:description><![CDATA[Gower&#039;s tales of Lucretia and Virginia in &quot;Confessio Amantis&quot; VII are exempla of the fates of lecherous rulers; however, Chaucer&#039;s versions of these stories (in LGW and PhyT, respectively) focus, not on the villains, but instead on the admirable characters of the virtuous heroines.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274569">
    <dcterms:title><![CDATA[Chaucer&#039;s and Wordsworth&#039;s Vivid Daisies.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s impact on medievalisms of early and later Romantic English poets. Portrays Chaucer&#039;s influence on Wordsworth, not only in deliberately medievalist work, but throughout his corpus, focusing on daisies and their presentations in text as the means to make the connections.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264597">
    <dcterms:title><![CDATA[Chaucer&#039;s Anti-clericalism as Seen in the Monk]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s Monk is by no means an ideal clergyman.  He is one of the best targets of Chaucer&#039;s satire.  He shows the degenerating status of the Church and the religious orders, to remind the readers of the need of renovation from within.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264020">
    <dcterms:title><![CDATA[Chaucer&#039;s Anti-Clericalism as Seen in the Prioresse]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the contradictory religious and secular aspects of the complex Prioress, an important personality in CT.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272762">
    <dcterms:title><![CDATA[Chaucer&#039;s Anti-Fable: &#039;Reductio ad Absurdum&#039; in the &#039;Nun&#039;s Priest&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the rational absurdity of the plot of NPT and the inapplicability of the various morals applied to the Tale expose the ridiculousness of the fable genre; the Tale is an &quot;anti-fable,&quot; as Th is an &quot;anti-romance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261930">
    <dcterms:title><![CDATA[Chaucer&#039;s Anti-Misogynist Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[The Wife of Bath first weakens the conventional notion of men as reasonable and women as sensual by showing how sensual and unworthy of sovereignty were her five husbands.  Then she overthrows this notion when her own feminine-sensual image dissolves into that of the masculine-rational hag.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262292">
    <dcterms:title><![CDATA[Chaucer&#039;s Anti-Ricardian Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Certain characteristics of Chaucer&#039;s poetry resulted from the influence of the court of Richard II, but paradoxically &quot;in reaction against Richard.&quot;  Brewer refutes Gervase Mathews&#039;s claim for a high state of culture and its influence in the reign of Richard, arguing that &quot;Richard was not distinguished as a patron of literature.&quot;  ]]></dcterms:description>
    <dcterms:description><![CDATA[The works of Chaucer, Gower, Langland, and the Gawain poet, produced during the rule of Richard reveal the spirit and mentality of the age.  Gower&#039;s &quot;Confessio Amantis&quot; was probably written at the request of Richard, but Gower turned away from the king and dedicated the work to Henry Earl of Derby.  There is perhaps more reason to call Chaucer&#039;s work Edwardian than Ricardian since Chaucer was in his late thirties when Richard, aged eleven, ascended the throne.]]></dcterms:description>
    <dcterms:description><![CDATA[A reference to Richard may be involved in TC 3.83 and Sted; the royal couple may be referred to in LGWP.  Although Chaucer&#039;s rich and sophisticated vocabulary reflects and was appropriate to the court culture of Richard&#039;s time and to readers as well as hearers, HF and BD were produced in Edwardian times; other Chaucerian works were in progress before Richard came to the throne.]]></dcterms:description>
    <dcterms:description><![CDATA[After LGWP, Chaucer&#039;s association with the Ricardian court weakened, for Richard alienated Chaucer as he had Gower.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265150">
    <dcterms:title><![CDATA[Chaucer&#039;s Anti-Scholasticism Opposition and Composition in the &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The opposition of knowledge in HF suggests the fourteenth-century reaction to the scholastic efforts of the thirteenth century to forge a synthesis between reason and faith.  However, this dissertation does not argue that Chaucer was a reformer.  The structural motifs of &quot;pilgrimage,&quot; &quot;tidings,&quot; and &quot;false appearances&quot; in HF are examined.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269609">
    <dcterms:title><![CDATA[Chaucer&#039;s Anxiety of Poetic Craft: The Squire&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[SqT illustrates how &quot;a poet may come to poetic and prosodic mastery.&quot; Chaucer&#039;s conscious creation of an inept teller who overuses or misuses rhyme, enjambment, and caesura illustrates the difficult process of maturing as a poet.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272755">
    <dcterms:title><![CDATA[Chaucer&#039;s Apostrophic Mode in &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses apostrophe as speech (or writing) that is &quot;&#039;overheard&#039; rather than merely heard,&quot; assessing it as a &quot;powerful esthetic instrument for plumbing the emotional and emotive depths&quot; of literary characters through &quot;overheardedness.&quot; Comments on examples of apostrophe in CT, with particular attention to KnT, WBP, ClT, MerT, FranT, PardT, PrT, and NPT.]]></dcterms:description>
</rdf:Description></rdf:RDF>