<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/273262">
    <dcterms:title><![CDATA[Class Distinction in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Contemplates social status and social mobility in Chaucer&#039;s works, considering them in light of contemporaneous attitudes.  Focuses on Chaucer&#039;s uses of &quot;degree&quot; and the ladder of degree as a &quot;symbol of social mobility,&quot; inflected by Chaucer&#039;s comic worldly &quot;cynicism&quot; and his &quot;profound religious skepticism&quot; about such mobility. Also addresses the gentle / churl distinction in Chaucer&#039;s works as social and moral categories, as devices of characterization, and as reflections of Chaucer&#039;s own status.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273261">
    <dcterms:title><![CDATA[The &quot;Knight&#039;s Tale&quot; as History.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;basic historical method&quot; of KnT as consistent with the &quot;contemporary aristocratic chronicle,&quot; showing how Chaucer uses Statius&#039;s &quot;Thebaid&quot; to archaize the plot drawn from Boccaccio&#039;s &quot;Teseida&quot; and create a world &quot;believable&quot; for his audience. Especially in Theseus&#039;s First Mover speech the poem &quot;prefigures&quot; Christianity in its ideal of chivalry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273260">
    <dcterms:title><![CDATA[Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Lists bibliographical citations of Chaucer studies, with sections on reference works, biography, social and cultural environments, editions and modernizations, language and versification, sources, individual works, apocrypha, etc., but excluding school editions, very brief articles, popular books and articles, and unpublished dissertations. Includes an author index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273259">
    <dcterms:title><![CDATA[The Devil in Green]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that in FrT the association of the fiend in with the color green may show how exegetical tradition filtered into folklore.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273258">
    <dcterms:title><![CDATA[Troy Unincorporated.]]></dcterms:title>
    <dcterms:description><![CDATA[Poetic narrative based on characters and plot of TC, set in contemporary Troy, Wisconsin.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273257">
    <dcterms:title><![CDATA[The Cultural Context of Chaucer&#039;s Fabliaux]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the classical and medieval poetic theories that underlie the genre of the fabliau, particularly its lack of concern with meaningfulness, commenting on several French fabliaux, and discussing the comedy and satire of MilT, RvT, ShT, and SumT. Excludes FrT and MerT from the genre.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273256">
    <dcterms:title><![CDATA[The Comic in the Poetry of Chaucer: Congruence of &#039;Sentence&#039; and &#039;Solaas&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that post-medieval notions of comedy obscure the relations between sense and sententiousness in Chaucer&#039;s poetry, explaining that Boethian, analogous thinking underlies Chaucer&#039;s art and that Hebraic and Graeco-Roman poetic traditions help to clarify how &quot;sentence&quot; and &quot;solace&quot; are interdependent in Chaucer&#039;s art.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273255">
    <dcterms:title><![CDATA[The &#039;Present Eternite&#039; of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes how the Boethian concept of divine (fore)knowledge of eternity underlies various aspects of TC and explores how narrative devices, allusions, the treatment of time, and the epilogue evoke the &quot;illusion of &#039;present eternite&#039; for the reader in relation to the poem.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273254">
    <dcterms:title><![CDATA[The Style and Technique of Chaucer&#039;s Translations from French]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer used French versions to facilitate his translation from Latin and that he sought to produce literal translations, although his prose translations are more literal than his poetic ones. Considers, Bo, Mel, Rom, Venus, and ABC, observing Chaucer&#039;s patterns of borrowing from French, especially when rhymes are involved.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273253">
    <dcterms:title><![CDATA[Complex Irony in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how &quot;complex irony in Chaucer has the effect of affirming both sides in a conflict or both terms in an opposition,&quot; discussing the device in TC, KnT, NPT, PardPT, and the end of the CT. Includes discussion of Boethius&#039;s &quot;Consolation of Philosophy&quot; as a philosophical resolution of the opposition of freedom and necessity and how, at times, Chaucer eschews irony, oppositions, and paradoxes and asserts his own point of view.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273252">
    <dcterms:title><![CDATA[Seven]]></dcterms:title>
    <dcterms:description><![CDATA[Murder-mystery action drama in which the serial killer uses the Seven Deadly Sins to organize his crimes. Includes several visual and verbal references to ParsT and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273251">
    <dcterms:title><![CDATA[Die Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[German translation of CT, with notes and glosses,originally produced by Adolf von Düring as part of his three-volume &quot;Geoffrey Chaucers Werke&quot; (Strassburg, 1883-86). Hoevel&#039;s edition was reissued in 1974.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273250">
    <dcterms:title><![CDATA[Pseudoscience in Chaucer&#039;s &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Collects examples of Chaucer&#039;s uses of pseudo-sciences in CT, for the most part, astrology and physiognomy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273249">
    <dcterms:title><![CDATA[Written English: The Making of the Language, 1370-1400]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the rise of writing in English during the &quot;age of Chaucer,&quot; commenting on the Ricardian poets (emphasizing Chaucer), Middle English sermon cycles, Lollard translation, and other examples of the &quot;elevated vernacular&quot; of late fourteenth-century English, distinguishing it from the Anglo-Saxon written standard, early Middle English, and Anglo-French. Attends to Anglo-French and neo-Latin loan words and Latin rhetorical influence, finding no evidence of &quot;monoglot English readers&quot; or writers until much later.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273248">
    <dcterms:title><![CDATA[Chaucer&#039;s Technique in Handling Antifeminist Material in &#039;The Merchant&#039;s Tale&#039;: An Ironic Portrayal of the &#039;Senex-Amans&#039; and Jealous Husband]]></dcterms:title>
    <dcterms:description><![CDATA[Attributes January&#039;s cuckholding in MerT to &quot;his own stupidity,&quot; reading Chaucer&#039;s deployment of antifeminist motifs as deeply ironic and part of his broader thematic concern to show that &quot;everyone is morally responsible for his own acts.&quot; Chaucer&#039;s alterations of his source material clarify the irony, and the Merchant&#039;s &quot;sarcasm and venom toward January&quot; at times reinforce it. Nevertheless, the Merchant is a &quot;confirmed misogynist&quot; and May receives the &quot;fitting punishment&quot; of marriage to the &quot;despicable old knight.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273247">
    <dcterms:title><![CDATA[The Garden Image in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses garden imagery in &quot;The Phoenix,&quot; &quot;Roman de la Rose,&quot; &quot;Pearl,&quot; and MerT, focusing in the latter on the theme of lust and its relation to the ideal of spiritual salvation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273246">
    <dcterms:title><![CDATA[The Mill in Popular Metaphor from Chaucer to the Present Day]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the legacy of the mill as a metaphor for creativity, child-bearing, and sexual activity, drawing examples from WBP (3.384-90), HF (1798-99), and RvT (1.4313-14), among other sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273245">
    <dcterms:title><![CDATA[Great Poets]]></dcterms:title>
    <dcterms:description><![CDATA[Reproduces portraits or busts of twenty-four English poets, from Chaucer to T. S. Eliot, held in England&#039;s National Portrait Gallery, with a very brief biography and short selection of poetry for each. The portrait of Chaucer is labeled as &quot;By an unknown artist, after Occleve,&quot; accompanied by a paragraph about Chaucer&#039;s life, and a quotation of TC 5.1835-48. Also describes Thomas Hoccleve&#039;s portrait of Chaucer as &quot;the only authentic image of the poet&quot; and quotes the section of Hoccleve&#039;s &quot;De Regimine Principum&quot; where his portrait of Chaucer appears in the British Museum manuscript.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273244">
    <dcterms:title><![CDATA[Chaucer&#039;s Lollard Friend: Sir Richard Stury]]></dcterms:title>
    <dcterms:description><![CDATA[A biography of Richard Stury, based on public records, with recurrent attention to his forty-year acquaintance with Chaucer as friend and associate. Touches on the &quot;long unsolved question of Chaucer&#039;s relation to Lollardy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273243">
    <dcterms:title><![CDATA[Knights, Beasts and Wonders: Tales and Legends from Mediaeval Britain]]></dcterms:title>
    <dcterms:description><![CDATA[Includes fourteen translations of materials from medieval British literary sources, from the &quot;Mabinogion&quot; to Thomas Malory, selected and adapted for a juvenile audience, and illustrated by Charles Keeping.  Includes a translation of FranT (pp. 99-105), with one b&amp;w illustration..]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273242">
    <dcterms:title><![CDATA[Responses to Ockhamist Theology in the Poetry of the &#039;Pearl&#039;-Poet, Langland, and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[In TC and &quot;several important&quot; tales of CT, Chaucer expresses more &quot;confidence in human nature&quot; than do Langland or the &quot;Pearl&quot;-poet in their works. He indicates the human need for divine Providence and assurance that &quot;God will not use his absolute power to overrule or contradict the covenant with man.&quot;  In this way, he steers a middle ground between the &quot;extremes of the Ockhamists and the Augustinians&quot; in the late-medieval nominalist-realist debate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273241">
    <dcterms:title><![CDATA[Chaucer and Lydgate, and the Uses of History]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s and Lydgate&#039;s assumptions about their audience&#039;s knowledge of history, and discusses how and to what extent it may indicate irony in KnT, MkT, TC, and several works by Lydgate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273240">
    <dcterms:title><![CDATA[Chaucer&#039;s Imagery]]></dcterms:title>
    <dcterms:description><![CDATA[Studies Chaucer&#039;s similes and metaphors to trace the &quot;development of imagery in each of [his] works&quot; from BD through CT, suggesting that Chaucer shows a &quot;progressive awareness of the image as an essential tool of his art.&quot; Results of statistical analysis of the density of his images coincides with traditional dating of his poems, and his imagery becomes more important to his characterizations over time.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273239">
    <dcterms:title><![CDATA[Odin&#039;s Old Age: A Study of the Old Man in &#039;The Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assumes that the Death and the Old Man in PardT are &quot;one and the same person,&quot; and provides evidence from Scandinavian literature that Odin was an analogous figure, perhaps even a distant source, although Christianized.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273238">
    <dcterms:title><![CDATA[Convention and Innovation: Two Essays on Style in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Treats KnT as a traditional, conservative work, elevated in tone and style and dependent on &quot;French and Italian traditions of eloquence.&quot; Conversely GP is the &quot;most original of Chaucer&#039;s poems,&quot; innovative in its &quot;mingling&quot; of &quot;praise and blame&quot; within individual portraits and enriched by the &quot;ironic alternation of opposed traditions of representation.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>