<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/265859">
    <dcterms:title><![CDATA[Chaucer&#039;s Approach to Gender in the &quot;Canterbury Tales,&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[CT resists the dominant medieval gender discourses that it inscribes.]]></dcterms:description>
    <dcterms:description><![CDATA[  Competition between Chaucer&#039;s male narrators and characters both reveals and challenges masculine stereotypes of the hero, the lover, and the intellectual.]]></dcterms:description>
    <dcterms:description><![CDATA[  Tales of masculine spirituality question behavioral norms.  ParsT addresses the social conflicts of the frame-narrative by inviting men to &quot;repudiate the competitiveness of the world.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Women who compete with men are &quot;rebellious&quot;; &quot;obedient&quot; women are pitied as outcasts and victims, but &quot;the narrators perceive this condition as &#039;acceptable.&#039;&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[ The female narrators are wrapped within layers of male discourse, but, especially in WBP and WBT, this layering helps to set up an ultimately liberating blurring of gender boundaries.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266284">
    <dcterms:title><![CDATA[Chaucer&#039;s Arithmetical Mentality and &#039;The Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s knowledge of medieval mathematical imagery is evident in several ways, beginning with his reference to &quot;Argus, the noble countour,&quot; who is Algus, the great Arab mathematician Al-Khwarizmi.  By refiguring the beginnings and endings of selected passages as set forth in &quot;The Riverside Chaucer&quot; and other editions, additional mathematical references emerge.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263722">
    <dcterms:title><![CDATA[Chaucer&#039;s ARMEE: Its French Ancestors and Its English Posterity]]></dcterms:title>
    <dcterms:description><![CDATA[Since the noun &quot;armee&quot; or a variant appears in the &quot;best&quot; and earliest Chaucer manuscripts and was used in Old French and Middle English, &quot;armee&quot; (rather than &quot;aryve&quot;) is probably the word Chaucer intended in GP 60.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264824">
    <dcterms:title><![CDATA[Chaucer&#039;s Art of Portraiture]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s art of characterization is an act of poetic creation rather than the mere use of rhetorical convention.  By employing rhetorical devices which vivify emotion and intensify dramatic action, or which infuse suggestion of movement, Chaucer subordinates technique to artistic vision and releases narrative art from static rhetorical conventions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270498">
    <dcterms:title><![CDATA[Chaucer&#039;s Art of Portraiture: Subject, Author and Reader]]></dcterms:title>
    <dcterms:description><![CDATA[Gauges how subject, author, and reader &quot;interact with varying degrees of subtlety in the GP descriptions of the pilgrims:  the &quot;snapshot&quot; (Yeoman), idealization (Parson), caricature (Summoner), balance between ideal and caricature (Wife of Bath), and descriptions inflected by the narrator&#039;s naivety (Guildsmen) or irony (Prioress).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272214">
    <dcterms:title><![CDATA[Chaucer&#039;s Art of Verbal Allusion: Two Notes]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates Chaucer&#039;s &quot;skills as a miniaturist,&quot; discussing antecedents in rhetorical tradition to the phrase &quot;places delitables&quot; (i.e., &quot;locus amoenus&quot;) in FranT (5.899) and the interdependence of &quot;moral and physical gifts&quot; in the description of Blanche in BD (866-77) which combines the rhetorical devices of &quot;notatio&quot; and &quot;effictio.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263739">
    <dcterms:title><![CDATA[Chaucer&#039;s Arthurian Romance]]></dcterms:title>
    <dcterms:description><![CDATA[WBT is an ironic Arthurian romance, particularly when viewed alongside Marie de France&#039;s &quot;Lanval&quot; and &quot;Sir Gawain and the Green Knight,&quot; which parallel it in several ways.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269795">
    <dcterms:title><![CDATA[Chaucer&#039;s Arthuriana]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Chaucer&#039;s use of Arthurian legend, from his use in TC of the traditional French conception of Lancelot for Troilus to his examination of the subtext the legend  provides for the fabric of fourteenth-century English society. In particular, the author looks at the use of a Gawain figure in Th and WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266022">
    <dcterms:title><![CDATA[Chaucer&#039;s Articulation of the Narrative in &#039;Troilus&#039;: The Manuscript Evidence]]></dcterms:title>
    <dcterms:description><![CDATA[A comparison of the manuscripts of TC with those of Boccaccio&#039;s &quot;Filostrato&quot; indicates that Chaucer&#039;s narrative divisions correspond to the summary rubrics in the earlier work, even if he did not retain Boccaccio&#039;s internal subdivisions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274529">
    <dcterms:title><![CDATA[Chaucer&#039;s Artistic Accomplishment in Molding the &quot;Wife of Bath&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies &quot;traces of the primitive folk tale&quot; that underlie the Cupid and Psyche myth and WBT, and maintains Chaucer&#039;s familiarity with some version of the myth. Compares and contrasts aspects of the Tale with its English analogues, and argues that the superiority of Chaucer&#039;s version is due to the influence of the myth (especially evident in the motif of &quot;double transformation&quot;) as well as to the &quot;genius&quot; of Chaucer&#039;s &quot;narrative skill&quot; in combining various motifs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273820">
    <dcterms:title><![CDATA[Chaucer&#039;s Artistic Use of Pope Innocent III&#039;s &quot;De Miseria Humane Conditionis&quot; in the Man of Law&#039;s Prologue and Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer uses portions of Pope Innocent&#039;s &quot;De Miseria&quot; in MLPT to &quot;further characterize&quot; the Man of Law, deepening the &quot;concern with wealth&quot; found in the GP description of the Sergeant. Furthermore, the portions from &quot;De Miseria&quot; unify the Man of Law&#039;s concerns with merchants, lend moral seriousness to the Tale deepening Custance&#039;s misfortunes, and help us to understand Chaucer&#039;s composition, revision, and patterned episodic construction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276440">
    <dcterms:title><![CDATA[Chaucer&#039;s Artistry in the &quot;Manciple&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys prior criticism of ManT and observes recurrent irony in the tale, particularly in Chaucer&#039;s assigning unnecessary expansions and repetitions to the verbose narrator.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264317">
    <dcterms:title><![CDATA[Chaucer&#039;s Arts and Our Arts]]></dcterms:title>
    <dcterms:description><![CDATA[In the Middle Ages the term &quot;art&quot; meant the liberal arts or almost any serious endeavor (other than the visual arts), also involving Gregory the Great&#039;s dictum that &quot;the art of arts is the rule of souls.&quot;  Chaucer was less influenced by the visual arts than by the arts in the wider sense.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264836">
    <dcterms:title><![CDATA[Chaucer&#039;s Ascetical Images]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer is the rule for vernacular poets rather than the exception.  His appropriation of monastic patterns of thought and ascetic ideas and imagery were a tradition already becoming a classic in his time.  In CT, the Summoner&#039;s portrait, the Pardoner&#039;s portrait, and the friar of SumT all adhere to and exemplify the exegetical traditions of Christian asceticism.  Most significant is the manner in which Chaucer makes traditional exegetical details his own.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272005">
    <dcterms:title><![CDATA[Chaucer&#039;s Assonance]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplifies the varieties and density of assonance in Chaucer&#039;s poetry, commenting on assonance in French, Italian, and English predecessors, and on Chaucer&#039;s uses of assonance in combination with other devices of sound and emphasis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268761">
    <dcterms:title><![CDATA[Chaucer&#039;s Attitudes to Music]]></dcterms:title>
    <dcterms:description><![CDATA[Brewer surveys the presence (and absence) of music in Chaucer&#039;s work, suggesting that Chaucer knew its celestial, theoretical underpinnings and enjoyed its zesty, earthy pleasures.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264609">
    <dcterms:title><![CDATA[Chaucer&#039;s Audience]]></dcterms:title>
    <dcterms:description><![CDATA[Special individuals of the lesser gentry--knights, squires, and women of equivalent rank closely connected with the court, in such professional positions as the Chancery, secretaryships, and legal work--found their complicated life-experiences embodied in Chaucer&#039;s poetry of juxtaposition, with its polarities, disruption of hierarchies, and assertion of relativity of traditional values.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264700">
    <dcterms:title><![CDATA[Chaucer&#039;s Audience]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer obviosly expects his audience to be familiar with his person, his previous writings, and his reputation as an author.  He also expects his audience to reflect about the moral function of poetry.  He draws his audience into his poetry by using his text to emphasize the importance of the reader&#039;s intelligent and imaginative responses.  The greatness of his text allows him to evoke the desired responses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265533">
    <dcterms:title><![CDATA[Chaucer&#039;s Audience and the Henpecked Husband]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s frequent references to nagging wives and henpecked husbands have less to do with his personal views than with his awareness of audience; women as well as men could share the misogynistic joke because in Pauline theory the shrew was &quot;some other woman.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263908">
    <dcterms:title><![CDATA[Chaucer&#039;s Audience: Discussion]]></dcterms:title>
    <dcterms:description><![CDATA[Symposium by thirteen Chaucerians.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263944">
    <dcterms:title><![CDATA[Chaucer&#039;s Audience(s): Fictional, Implied, Intended, Actual]]></dcterms:title>
    <dcterms:description><![CDATA[The problem of ascertaining Chaucer&#039;s audience(s) is complex, running from the fictional one of GP to the real audiences of the poet&#039;s day to the audiences of the present.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276792">
    <dcterms:title><![CDATA[Chaucer&#039;s Authorship of the &quot;Equatorie of the Planetis&quot;: The Use of Romance Vocabulary as Evidence.]]></dcterms:title>
    <dcterms:description><![CDATA[Tabulates the percentage of romance words in the works of Chaucer against the overall length of these works, suggesting that, in terms of its romance vocabulary, Equat &quot;is to be regarded as a work by Chaucer.&quot; Establishes a logarithmic formula for these calculations and includes statistical comparison with other writers, such as Gower, Mandeville, Shakespeare, and Milton.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272120">
    <dcterms:title><![CDATA[Chaucer&#039;s Bad Tales: The Aesthetic Forms of Late Medieval Pathos and the Tradition of &#039;Sermo Humilis&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the development of the &quot;sermo humilis&quot; tradition in literature and the visual arts as a context for Chaucer&#039;s uses of &quot;pathetic style&quot; in the Ugolino episode of MkT, PrT, PhyT, and MLT, arguing that these accounts reflect the evolution of Gothic pathos.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265889">
    <dcterms:title><![CDATA[Chaucer&#039;s Ballade &#039;To Rosemounde&#039;--a Parody?]]></dcterms:title>
    <dcterms:description><![CDATA[Disagreeing throughout with Joerg Fichte and Edmund Reiss, Stemmler uses literature contemporary with Chaucer to show that Ros is a &quot;seriously meant love-lyric.&quot;  It is not a parody.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272532">
    <dcterms:title><![CDATA[Chaucer&#039;s Bawdy]]></dcterms:title>
    <dcterms:description><![CDATA[An alphabetical glossary of obscene, sexual, and scatological references, puns, and allusions in Chaucer&#039;s works. Individual entries define and analyze the terms and phrases, providing bibliographical citations to previous critical discussions; the introduction discusses bawdiness and comedy in Chaucer. Includes a line index to bawdiness in Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description></rdf:RDF>