<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/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: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:RDF>