<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/273387">
    <dcterms:title><![CDATA[Queer Times: Richard II in the Poems and Chronicles of Late-Fourteenth Century England.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of MilT, arguing that it &quot;participates in the scandalous discourse on the perceived problem of Richard II&#039;s deviant sexuality,&quot; reading the scene of the hot coulter as an echo of the sodomitical execution of Edward II that engages attention to Richard by means of the name &quot;Absolon.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273386">
    <dcterms:title><![CDATA[The Names of the Canterbury Pilgrims.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the paucity of names given to the pilgrims in CT and comments on those that are given; Eglyntine, John (Nun&#039;s Priest), Piers (Monk), Harry Bailly (and his wife Goodelief), Huberd, Hodge, Robin, Oswald, Alisoun, and Chaucer himself, who is named in the rubrics, While the fictional names are &quot;suitable,&quot; Chaucer was evidently &quot;not particularly concerned about giving names to the pilgrims.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273385">
    <dcterms:title><![CDATA[Irony in the &quot;Canon&#039;s Yeoman&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;there is an ironically complex relationship of the speaker to what he says&quot; in CYPT, particularly in the way that the Yeoman&#039;s simplistic understanding of alchemy leads him to abandon the evils of alchemy while the Canon&#039;s intelligent comprehension of the complexities of the science involve him with its trammels in an ongoing way.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273384">
    <dcterms:title><![CDATA[Uses of Names in Medieval Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the fittingness and suggestiveness of a number of proper names in CT--Eglyntine, Absolon, Alisoun, Philostratus, January, May, Justinus, Placebo, and Cecilia--as part of a survey of the literary uses of names and naming in medieval Latin and vernacular literatures, with attention to Isidore of Seville, Geoffrey of Monmouth, &quot;Beowulf,&quot; Marie de France, Chrétien de Troyes, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273383">
    <dcterms:title><![CDATA[Chanticleer.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record indicates that this is a series of songs, adapted from NPT, for &quot;unison or 2-part children&#039;s choir accompanied by violin, recorders, percussion, piano, and guitar.&quot; Duration: approximately 20 minutes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273382">
    <dcterms:title><![CDATA[A Study in the Sources and Rhetoric of Chaucer&#039;s &quot;Legend of Good Women&quot; and Ovid&#039;s &quot;Heroides.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads LGW as a comic &quot;parody . . . partially directed at sentimental readings of the Ovidian complaint&quot; found in &quot;Heroides,&quot; focusing on the palinode, love vision, and characters of LGWP and the &quot;humorous inconsistencies&quot; of the legends.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273381">
    <dcterms:title><![CDATA[The Genre and Art of the Old French Fabliaux: A Preface to the Study of Chaucer&#039;s Tales of the Fabliau Type.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the &quot;literary qualities&quot; of Old French fabliaux, comparing and contrasting them with those of &quot;higher genres&quot; as a step toward gauging their influence on writers such as Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273380">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Nun&#039;s Priest&#039;s Tale&quot;: Satire and &quot;Solas.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the aesthetic standards espoused by the pilgrims in CT and argues that the Nun&#039;s Priest &quot;fits his tale to his audience even as he tries to alter the views of the audience&quot; and tries to solve for himself the question of free will versus determinism. Considers &quot;aesthetic distance&quot; in light of modern theories of &quot;Kenneth Burke, Edward Bullough, Wayne C. Booth, and others.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273379">
    <dcterms:title><![CDATA[Chaucer and &quot;Il Filostrato.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Comparative analysis shows that several changes and emphases Chaucer introduces into Boccaccio&#039;s &quot;Filostrato&quot; produce richer characterization in TC. All three major characters &quot;think as well as feel&quot; in Chaucer&#039;s poem: Troilus with his fatalism; Criseyde, &quot;her pathetic search&quot; for true felicity; and Pandarus, his awareness of how &quot;slender is the tight-rope he is treading.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273378">
    <dcterms:title><![CDATA[The Achievement of Chaucer&#039;s Love-Visions.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in adapting the conventions of French love-visions Chaucer improves on his predecessors and comes close to perfecting one of major literary genres of the Middle Ages. Discusses BD, HF, PF, and LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273377">
    <dcterms:title><![CDATA[The Beginning of the Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record indicates that this score is for four unaccompanied female voices, with duration of &quot;about 4 min. 30 sec.&quot;, with &quot;Text by Chaucer.&quot; and difficulty appropriate to &quot;Advanced high school-college; difficult-moderately difficult.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273376">
    <dcterms:title><![CDATA[Artistic Ambivalence in Chaucer&#039;s &quot;Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that for readers sensitive to literary tradition and genre expectations KnT is a &quot;delightful satire&quot; of courtly love and the metrical romance genre, along with the &quot;chivalric code implicit in them.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273375">
    <dcterms:title><![CDATA[The Narrative Techniques of Chaucer&#039;s Fabliaux.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines point of view, presentation, plot, and characterization in ShT, MilT, RvT, SumT, and FrT, comparing and contrasting these techniques with those found in Old French fabliaux, and arguing that Chaucer supersedes his predecessors in complexity, characterization, and credibility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273374">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Philosophre&quot;: A Note on &quot;The Parson&#039;s Tale,&quot; 534-7.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the referent for &quot;the philosophre&quot; in ParsT 10.535-37 is Aristotle, following a passage in his &quot;De Anima.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273373">
    <dcterms:title><![CDATA[&quot;A sheep that highte Malle&quot; (NPT, VII, 2831).]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the implications of the name &quot;Malle&quot; that is given to the widow&#039;s sheep in NPT 7.2831: the sheep is a ewe and suggests the widow&#039;s &quot;simplicity, her poverty, and one of the ways in which&quot; she is a dairy woman. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273372">
    <dcterms:title><![CDATA[The Relationship of Geoffrey Chaucer&#039;s Works to the Antifeminist Traditions.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer is &quot;not an antifeminist&quot; despite his uses of misogynistic materials from Theophrastus, Juvenal, Jerome, and others.  His uses of such material in TC, LGW, and CT is self-aware and often comic, evidence of his &quot;rising above&quot; his sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273371">
    <dcterms:title><![CDATA[The Epilogue to the &quot;Nun&#039;s Priest&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Attributes the sexual suggestiveness of the NPE (CT 7.3447-62) to the Host&#039;s familiarity with a commonplace association of a &quot;man in a convent with a cock in a hen-run,&quot; citing parallels from French, Latin, and Italian sources, and exploring how the language and imagery of the passage helps to characterize the Host as a &quot;scandal-mongering but genial religious bigot.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273370">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Troilus&quot;: Sir Francis Kynaston&#039;s Latin Translation, with a Critical Edition of His English Comments and Latin Annotations.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers a critical edition of Kynaston&#039;s &quot;Amorum Troili et Creseide,&quot; with attention to his &quot;methods of translating&quot; TC and his &quot;explication of Chaucer&#039;s life and artistry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273369">
    <dcterms:title><![CDATA[&quot;Hous of Fame,&quot; 7-12.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the sources and ironies of the disquisition on dreams that opens HF, and argues that its list of &quot;six dream words&quot; (HF 7-12) are made up of &quot;three contrasting pairs,&quot; each of which is &quot;distinguished by a contrast between a dream that conveys insight and one that does not.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273368">
    <dcterms:title><![CDATA[The Problem of Parody and Three Courtly Lovers: Aucassin, Troilus, and Calisto.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;innate absurdities&quot; of the courtly love tradition invite parody and includes discussion of TC as a &quot;sympathetic parody&quot; in which &quot;tone&quot; is &quot;governed by Boethian and Christian doctrines along with Chaucer&#039;s personal experience.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273367">
    <dcterms:title><![CDATA[Chaucer&#039;s Use of Rhetoric in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows how Chaucer adapted Boccaccio&#039;s &quot;Filostrato&quot; in TC by increasing the density and variety of rhetorical figures, thereby &quot;embellishing&quot; the verse, altering characterization, transforming narrative perspective. and increasing irony. Includes an &quot;index of some major rhetorical figures&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273366">
    <dcterms:title><![CDATA[A Study of the Host in &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the character development of the Host in CT (following the Ellesmere ordering of the parts) and reads NPT as his &quot;turning point&quot; when he abandons comic &quot;crudity, violence, and carelessness&quot; for &quot;capable leadership.&quot; Assesses Harry Bailly&#039;s role throughout CT, including in GP where he is impressive, &quot;greater than life.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273365">
    <dcterms:title><![CDATA[Pre-Chaucerian and Chaucerian Concern with Providence: The Question of Providence Examined in Representative Theologians and Poets before Chaucer and As a Major Preoccupation in Chaucer&#039;s Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that concern with Providence is a major factor in the &quot;high seriousness&quot; of Chaucer&#039;s poetry, exploring relations between theological and poetic formulations of Providence before Chaucer and in a variety of his works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273364">
    <dcterms:title><![CDATA[Two Fourteenth-Century Poets: Geoffrey Chaucer and the Archpriest of Hita.]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies similarities in the works of Chaucer and of Juan Ruiz (themes, sources, allusions, details, etc.) that they share as &quot;representatives of the fourteenth century.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273363">
    <dcterms:title><![CDATA[ME. &quot;point&quot; (&quot;Troilus and Criseyde&quot; III. 695).]]></dcterms:title>
    <dcterms:description><![CDATA[Adduces two instances in Middle English of the use of &quot;point&quot; with musical connotations, and suggests that the use of the term in TC 3.695 gains complexity from such connotations.]]></dcterms:description>
</rdf:Description></rdf:RDF>