<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/268216">
    <dcterms:title><![CDATA[Chaucer&#039;s Constance and the Sorrowing Mary: The Man of Law&#039;s Tale (MLT), 841-854]]></dcterms:title>
    <dcterms:description><![CDATA[Correale traces allusions to Lamentations 1.12 in Marian &quot;planctus&quot; tradition, arguing that appeals for sympathy linked to Mary underlie Constance&#039;s prayer to the Virgin in MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272328">
    <dcterms:title><![CDATA[Chaucer&#039;s Constance, Jonah, and the &#039;Gesta Romanorum&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Notes that the account of the Princess of Apulia found in some versions of the &quot;Gesta Romanorum&quot; has parallels with the biblical account of Jonah and with MLT, which alludes to Jonah.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264854">
    <dcterms:title><![CDATA[Chaucer&#039;s Constance: Pale and Passive]]></dcterms:title>
    <dcterms:description><![CDATA[Constance is not the passive ninny she has been accused of being.  She possesses a presence which demands and receives forcible response; she moves in her world with self-sufficiency; her virtue is heroic; her ability to accept what God sends gives her an imposing strength.  Constance&#039;s force of soul is such that she can remain detached from what befalls her.  She is always aware of the emotional cost of yielding to Providence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264851">
    <dcterms:title><![CDATA[Chaucer&#039;s Constance: Womanly Virtue and the Heroic Life]]></dcterms:title>
    <dcterms:description><![CDATA[Constance is not, as Delany (1974) claims, a character who embodies and recommends self-degradation and abject submission to power in all its forms.  What is important is that Constance discovers in the course of her experience that Providence, not Fortune, governs and establishes the meaning of her life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262866">
    <dcterms:title><![CDATA[Chaucer&#039;s Contemporary]]></dcterms:title>
    <dcterms:description><![CDATA[Diffident comparisons point out the &quot;Englishness&quot; of both Chaucer and Langland (though Chaucer gives us little of London city life, his limits being Dartmouth, Strother, Oxford, and Cambridge).  Bennett discusses the down-to-earth tones, association of trades and merchants with &quot;covetise,&quot; and their attitudes toward the religious.  In view of their similarities, it is time &quot;to dismiss forever the false antithesis that represents Chaucer as new and adventurous, Langland as traditional and conservative.&quot; Reprint; first published in S. S. Hussey, ed. Piers Plowman: Critical Approaches (London: Methuen, 1969), pp. 310-24 and 352-53.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272962">
    <dcterms:title><![CDATA[Chaucer&#039;s Contemporary]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the affinities and &quot;common sympathies&quot; between William Langland and Chaucer, including their &quot;Englishness,&quot; their views of religion and virtue, their shared sense of human variety, and the possibility that Chaucer may have read &quot;Piers Plowman.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261833">
    <dcterms:title><![CDATA[Chaucer&#039;s Contemporary Guillaume de Machaut: A Critical Study of Four &#039;Dits amoureux&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Through study of Machaut&#039;s &#039;dits&#039;, we begin to get a sense of what Chaucer saw in Machaut&#039;s work.  In addition to appreciation of his style, Chaucer must have recognized in Machaut&#039;s constant theme--human love, rightly and wrongly ordered--a sense of intellectual kinship.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261361">
    <dcterms:title><![CDATA[Chaucer&#039;s Context of &#039;Game&#039; in The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the conflict between &quot;authority,&quot; which is based on higher culture, and &quot;experience,&quot; characteristic of folk mode, emphasizing the significance of &quot;game in ernest&quot; in CT.  &quot;Game&quot; derives from the festive storytelling contest.(In Japanese).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263095">
    <dcterms:title><![CDATA[Chaucer&#039;s Continental Inheritance: The Early Poems and &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces Chaucer&#039;s increasingly creative use of sources and development as a poet:  his treatment of French materials in Rom, BD, and HF; his use of Dante in BD and HF; his adaptation of Boccaccio in Anel, PF, and TC; and his own developing, distinctively &quot;English&quot; voice in PF, HF, and TC. In TC, Chaucer &quot;align(s) himself with the greatest European poets&quot; but also &quot;speak(s) like an English romancer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263627">
    <dcterms:title><![CDATA[Chaucer&#039;s Contribution to the English Vocabulary: A Chronological Survey of French Loan-Words]]></dcterms:title>
    <dcterms:description><![CDATA[Classifies French conversational loan words (A-D) in CT by frequency, grammatical nature, and date of first occurrence. Only thirty-nine words are used first by Chaucer, who innovates less than previously thought.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267532">
    <dcterms:title><![CDATA[Chaucer&#039;s Contribution to The Tempest : A Reappraisal]]></dcterms:title>
    <dcterms:description><![CDATA[Cites echoes of FranT in Shakespeare&#039;s &quot;The Tempest&quot; as evidence of Chaucer&#039;s influence, focusing on the &quot;generous view of diminished art&quot; in both.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264538">
    <dcterms:title><![CDATA[Chaucer&#039;s Contributions to a Popular Topos: The World Upside-Down]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer defines the &quot;up-so-doun&quot; world using three devices:  dramatized &quot;impossibilia&quot; (the rhetorical expression of a passionate conviction believed to be an impossibility), role reversal (involving a triumph of the weaker over the stronger), and explicit statements (suggesting man&#039;s perverse judgments and actions).  Parody provides the structural similarity of the three devices.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263661">
    <dcterms:title><![CDATA[Chaucer&#039;s Conversion: Allegorical Thought in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Identification of the source, 1 Samuel 6, of &quot;Truth, a &quot;poeme a clef,&quot; leads to the question of how allegorical interpretations of a medieval exegete could impinge on the poet&#039;s life and work.  Emphasizing medieval name lore (onomastics), the author argues that by an allegorical interpretation of his own name Chaucer revised his life and work.  Treats allegorical meaning of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262968">
    <dcterms:title><![CDATA[Chaucer&#039;s Cook&#039;s Prologue, 1.4236]]></dcterms:title>
    <dcterms:description><![CDATA[The Cook&#039;s association of delight with being &quot;clawed...on the bak&quot; probably alludes to medieval practices of hospitality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275680">
    <dcterms:title><![CDATA[Chaucer&#039;s Corrective Form: The Tale of Melibee and the Poetics of Emendation.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the recursive demands of grammatical emendation (&quot;emendatio&quot;) and penitential reform--the accumulative and ongoing need for correction of error that creates or prompts more need for correction--as the aesthetic that underlies Mel, and CT more generally. Inspired by such models as grammatical exercises and Aristotelian prologues, Prudence&#039;s correction of Melibee is not successful, fulfilling, or complete, but it indicates the value of revision, revisiting, and adjustment of genres and ideas in the Canterbury fiction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263527">
    <dcterms:title><![CDATA[Chaucer&#039;s Costume Rhetoric in His Portrait of the Prioress]]></dcterms:title>
    <dcterms:description><![CDATA[The headdress, cloak, and jewelry of the Prioress, correct or appropriate according to fourteenth-century views, conflict ironically with her character.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272373">
    <dcterms:title><![CDATA[Chaucer&#039;s Counterfeit &#039;Exempla&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Notes that counterfeit and forged documents appear frequently in CT, but most frequently in exemplary and ethical tales such as MLT and ClT. This suggests Chaucer&#039;s lack of trust in this kind of writing and his preference for an ethics based on imperfect, lived experience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271634">
    <dcterms:title><![CDATA[Chaucer&#039;s Courtly Love]]></dcterms:title>
    <dcterms:description><![CDATA[Gauges Chaucer&#039;s &quot;view and use of love,&quot; concentrating on BD, TC, and KnT as his only narratives that take courtly love seriously, both as a theme and a plot device. Even in these cases, courtly love is presented pejoratively--both foolish and destructive.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277422">
    <dcterms:title><![CDATA[Chaucer&#039;s Courtly Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Highlights the enduring role of court poet for Chaucer, including his debts to &quot;The Romance of the Rose&quot; and the complicity of the narrator in TC. Discusses the creation of Alcestis in LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266565">
    <dcterms:title><![CDATA[Chaucer&#039;s Creation and Recreation of the &#039;Lyf of Seynt Cecile&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The context of CT changes the meaning of SNT.  Although SNT is a clear statement of the &#039;right path,&#039; ParsT reminds us at the end that we cannot come close to following that path.  Spiritual perfection is rare; for the rest of us there are remedies for our sins.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264141">
    <dcterms:title><![CDATA[Chaucer&#039;s Creation of Universal Professional Stereotypes in Five of &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In PrT, MLT, ClT, SNT, and PhyT, Chaucer manipulates the genre and rhetoric of the saint&#039;s life in differing ways to evoke audience response to the professional stereotypes of the narrators.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272787">
    <dcterms:title><![CDATA[Chaucer&#039;s Creative Comedy: A Study of the &#039;Miller&#039;s Tale&#039; and the &#039;Shipman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that &quot;in Chaucer&#039;s comedy the triumph of wit is often a &#039;creative&#039; act, an act of imaginative invention and ingenious construction,&quot; commenting on the division of the fart in SumT, demonstrating the prevalence of creative, constructive cleverness in MilT (in contrast to the destructiveness of farce), and making clear the wife&#039;s creative persuasiveness in ShT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269060">
    <dcterms:title><![CDATA[Chaucer&#039;s Criseyde : The Betrayer Betrayed]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer presents Criseyde as a victim of several betrayals--by Calchas, by the Trojan parliament, by Pandarus, and by the narrator--and prompts the possibility of readers&#039; betrayal of her as well. Obedient to her father but unfaithful to her lover, Criseyde is trapped between two opposed sets of expectations, social and literary, that shape our complex response.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265512">
    <dcterms:title><![CDATA[Chaucer&#039;s Criseyde and Eurydice]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s understanding of the Orpheus and Eurydice myth to argue that Criseyde&#039;s reference to Eurydice (TC 4.791) is the poet&#039;s way of &quot;lending voice&quot; to a classical figure who, like Criseyde, was the object of barter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267247">
    <dcterms:title><![CDATA[Chaucer&#039;s Criseyde and Feminine Fear]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Criseyde&#039;s fearfulness in the context of &quot;late-medieval accounts of the psychology and ethics of fear,&quot; arguing that Chaucer presents her not as a &quot;culpably fickle female&quot; but as an (equally essentialized) &quot;attractively fearful female.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>