<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/269059">
    <dcterms:title><![CDATA[Chaucer&#039;s Criseyde in Neo-Latin Dress]]></dcterms:title>
    <dcterms:description><![CDATA[Francis Kynaston&#039;s translation of TC in Latin rhyme-royal stanzas was influenced by Henryson&#039;s and Shakespeare&#039;s depictions of Criseyde. Substantial omissions in Books 4 and 5 of the translation simplify the character and reduce readers&#039; sympathy by emphasizing her coquetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266991">
    <dcterms:title><![CDATA[Chaucer&#039;s Criseyde on Film]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Bevan&#039;s efforts to represent in a film script various aspects of Chaucer&#039;s art in TC: Chaucer&#039;s sense of history, the subtleties of his diction, and his &quot;world view.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263322">
    <dcterms:title><![CDATA[Chaucer&#039;s Criseyde: &#039;Hire Name, Allas! Is Publisshed so Wyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC 5.1095, &quot;publisshed&quot; (contained in five manuscripts) is preferable to &quot;punisshed&quot; (in fourteen manuscripts) because the fourteenth-century sense of &quot;denounced publicly&quot; better suits the immediate context in the poem and the widespread bad reputation of Criseyde in Chaucer&#039;s day.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270495">
    <dcterms:title><![CDATA[Chaucer&#039;s Critique of the Church in the &#039;General Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers three groups of ecclesiastical figures in CT, categorizing them by religious role and descriptive technique:  1) members of religious orders (Prioress, Monk, and Friar), who the narrator &quot;damns by faint praise and irony&quot;; 2) servants of the institutional Church (Summoner and Pardoner), &quot;condemned for veniality and corruption&quot;; and 3) the idealized pairing of sacred and secular (Parson and Plowman). Significant attention to GP and the theme of pilgrimage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273309">
    <dcterms:title><![CDATA[Chaucer&#039;s Crusading Knight, a Slanted Ideal.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the GP description of &quot;Chaucer&#039;s perfect Knight . . . seems carefully constructed to accord with the aims&quot; of a &quot;unified crusade&quot; that was articulated by Philip de Mézières in his proposal to organize an Order of the Passion of Jesus Christ. Also uses Geoffrey de Charny to clarify the nuances of &quot;worthy&quot; as it recurs in the Knight&#039;s description.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271906">
    <dcterms:title><![CDATA[Chaucer&#039;s Cuckoo and the Myth of Anthropomorphism]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the cuckoo-merlin dialogue in PF deconstructs the traditional human-animal binary by presenting a &quot;fleeting realization of anthropomorphism gone awry.&quot; The cuckoo&#039;s &quot;brood parasitism . . . resolves itself into a mode of communal profit&quot; and the poem becomes a &quot;parody of overclassification.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268014">
    <dcterms:title><![CDATA[Chaucer&#039;s Cultural Geography: Basic Readings in Chaucer and His Time]]></dcterms:title>
    <dcterms:description><![CDATA[Twelve essays by various authors who assess Chaucer&#039;s uses of and attitudes toward the familiar and the foreign, especially the Mid-East, in SqT (four essays), FranT, CT, CYT, PrT, KnT, LGW, and MLT. Includes ten essays published between 1983 and 1999 by John M. Fyler, Vincent J. DiMarco, Kathryn Lynch, Dorothee Metlitzki, Katharine Slater Gittes, Louise O. Fradenburg, Sylvia Tomasch, Sheila Delany, Susan Schibanoff, and Derek Pearsall. Includes an introduction and a subject index. For the two new essays, search for Chaucer&#039;s Cultural Geography under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275064">
    <dcterms:title><![CDATA[Chaucer&#039;s Cunning: An Incarnational Pun and an Omission in the &quot;Middle English Dictionary.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the word &quot;cunning,&quot; omission of its sexual connotations in the MED, and the ways in which Chaucer puns on the word in previously unconsidered sexual contexts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264279">
    <dcterms:title><![CDATA[Chaucer&#039;s Curial Satire: the &#039;Balade de bon Conseyl&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Balade de bon Conseyl,&quot; or Truth, the most popular of Chaucer&#039;s short poems, is generally thought to be derived from the Bible and Boethius&#039;s &quot;Consolation of Philosophy.&quot;  Out of the twenty-four copies, only in one version does the envoy to &quot;Vache&quot; appear.  The poem is clearly a formal ballad and does not contain all the characteristics of an epistolary curial satire.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Reading the Past:  Essays on Medieval and Renaissance Literature (Four Courts, 1996), pp. 199-214.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274937">
    <dcterms:title><![CDATA[Chaucer&#039;s Custance.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes various motifs in MLT, observing that it &quot;includes features common to the early form of the &#039;märchen&#039; combined with relatively late developments,&quot; and claiming that Chaucer&#039;s &quot;most important addition to his source,&quot; Trevet&#039;s &quot;Cronicle,&quot; is his &quot;vitalization&quot; of Constance as a &quot;woman of strong and singular personality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264892">
    <dcterms:title><![CDATA[Chaucer&#039;s Dainty &#039;Dogerel&#039;: The &#039;Elvyssh&#039; Prosody of &#039;Sir Thopas&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Most critics agree Th parodies Middle English tail-rhyme romances.  A regularity of stress, external rhyme, internal alliterations, stanza pattern, and a &quot;bobbing&quot; meter reflect Chaucer&#039;s polished craft.  While offering an ample measure of &quot;sentence&quot; and &quot;solace,&quot; Chaucer illustrates the tension between ornamentation and sincerity.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Jean E. Jost, ed.  Chaucer&#039;s Humor:  Critical Essays (Garland, 1994), 271-94.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274990">
    <dcterms:title><![CDATA[Chaucer&#039;s Daisy (Prol. LGW F 120-3; G. 109-11).]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys historical comments on the odor of daisies and suggests that Chaucer&#039;s praise of its odor in LGWP may be due to botanical accuracy, unusual because he usually follows literary conventions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272259">
    <dcterms:title><![CDATA[Chaucer&#039;s Dame Alys: Critics in Blunderland?]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges characterizations of the Wife of Bath that treat her as an icon or as a representative figure. Reads WBP for the ways that it may be regarded as a &quot;modern case history&quot; that reflects a complex personality rife with desires and regrets.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274055">
    <dcterms:title><![CDATA[Chaucer&#039;s Dante in Eliot&#039;s &quot;Waste Land&quot; and Other Observations.]]></dcterms:title>
    <dcterms:description><![CDATA[Reconsiders CT as the source of the opening line of T. S. Eliot&#039;s &quot;The Waste Land,&quot; exploring intertextual relations with the opening of Dante&#039;s &quot;Divine Comedy&quot; as well. Also clarifies the importance of Chaucer&#039;s role in the English tradition of translating Dante and argues that Eliot, aware of this role, alludes to Chaucer&#039;s (MkT 7.2407ff.) as well as to Dante&#039;s Ugolino in his reference to the key turning in the door (&quot;The Waste Land,&quot; 412).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261363">
    <dcterms:title><![CDATA[Chaucer&#039;s Dante: Allegory and Epic Theater in The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[CT responds to Dante&#039;s Commedia in a &quot;conscious attempt &quot; to continue its &quot;poetic tradition&quot; of pilgrimage narrative.  Chaucer&#039;s pilgrims &quot;comment or focus on one or more aspects of the Dantean pilgrimage,&quot; and both works define the human image and likeness to God by exploring the relations between literal and allegorical representation.  NPT, like the Geryon episode in the Inferno, erases animal/human distinctions to understand the human.  ]]></dcterms:description>
    <dcterms:description><![CDATA[  KnT and MilT provide the context for a deconstructionist reading of drama in CT and the Commedia, seeing them against epic and theatrical traditions.  MkT, FrT, and SumT recall aspects of the style and themes of the Inferno.  In Petrarchan fashion, ClT (except for the Envoy) opposes Dante&#039;s approach to allegory, and MerT echoes the gardens of Song of Songs and the Paradiso; in these narratives, marriage is a topos of interpretation, a means to avoid the death of literal reading.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267275">
    <dcterms:title><![CDATA[Chaucer&#039;s Dantean Presentation of Time in The Canterbury Tales : Libra and the Moon]]></dcterms:title>
    <dcterms:description><![CDATA[When read &quot;astrolabically&quot; rather than astrologically, the &quot;chronographia&quot; of ParsP is accurate and ripe with spiritual meaning. It was inspired by Dante&#039;s presentation of the stars in the &quot;Divine Comedy&quot; and indicates the imminence of Easter. Apparent inconsistencies between the &quot;chronographiae&quot; of GP and ParsP are due to modern misreading.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263670">
    <dcterms:title><![CDATA[Chaucer&#039;s Daughters]]></dcterms:title>
    <dcterms:description><![CDATA[Review article on Christine de Pizan&#039;s &quot;The Book of the City of Ladies,&quot; Amazonian version of Augustine&#039;s &quot;City of God.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272604">
    <dcterms:title><![CDATA[Chaucer&#039;s Daun Piers and the Rule of St. Benedict: The Failure of an Ideal]]></dcterms:title>
    <dcterms:description><![CDATA[Characterizes the Monk as the &quot;satiric consummation of all possible monastic faults,&quot; analyzing him in light of the &quot;seven points of disciple&quot; of the Rule of St. Benedict (obedience, poverty, celibacy, propertylessness, labor, claustration, and proper diet) and showing where details and nuances in his character contrast with monastic strictures.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274443">
    <dcterms:title><![CDATA[Chaucer&#039;s Daun Piers: One Monk or Two?]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that the characterizations of the Monk in GP and in MkPT are consistent, and attributes their differing tones to the Monk&#039;s decision to &quot;change his image&quot; in the eyes of his fellow pilgrims while requiting the Host&#039;s derision with the boredom of a dull, redundant &quot;sermon.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268572">
    <dcterms:title><![CDATA[Chaucer&#039;s Dead Body : From Corpse to Corpus]]></dcterms:title>
    <dcterms:description><![CDATA[Invoking a medieval association of book and body, Prendergast examines the cultural history of Chaucer&#039;s remains. The study assesses fifteenth-century attempts to mourn Chaucer&#039;s death, traces early modern ambivalence toward the poet&#039;s body-as-relic, and discusses the restored tomb as a symbol of nineteenth-century British nationalism. Prendergast argues that this restoration project and certain editing practices share a totalizing impulse. Modernists opposed a disembodied Chaucer to a continued popular interest in the body as signifier of genius. An appendix presents Laurence Tanner&#039;s previously unpublished &quot;Chaucer&#039;s Tomb and Nicholas Brigham.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274477">
    <dcterms:title><![CDATA[Chaucer&#039;s Dealings with a Stanza of &quot;Il Filostrato&quot; and the Epilogue of &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Close comparison of passages in TC and their sources in Boccaccio&#039;s &quot;Filostrato&quot; discloses how Chaucer &quot;sets in motion&quot; early in his poem &quot;a train of events whose implications go far beyond the immediate moment, perhaps beyond the love story itself,&quot; evoking Boethian inevitability and the &quot;divinely implanted tendency of the human soul to strive to return to its true source.&quot; In this light, the epilogue is a &quot;logical conclusion&quot; to the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275058">
    <dcterms:title><![CDATA[Chaucer&#039;s Death, Lydgate&#039;s Guild, and the Construction of Community in Fifteenth-Century English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies a &quot;pray for Chaucer&quot; trope in fifteenth-century commentary on the poet, observing a &quot;metaphor of literary history&quot; that is based in &quot;guild-like community,&quot; underpinned by notions of purgatory, intercession, and friendship. Rooted in Thomad Hoccleve&#039;s attention to &quot;communal responsibility for Chaucer&#039;s soul,&quot; and deepened by John Lydgate, the &quot;&#039;pray for Chaucer&#039; tradition&quot; was modified by William Caxton, reworked as an exclusionary &quot;cult of Father Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263069">
    <dcterms:title><![CDATA[Chaucer&#039;s Debts in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Review article.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264761">
    <dcterms:title><![CDATA[Chaucer&#039;s Decasyllabic Line: The Myth of the Hundred-Year Hibernation]]></dcterms:title>
    <dcterms:description><![CDATA[Morris Halle and Samuel J. Keyser, through careful computer analysis, seem to have put down the myth of the hundred-year-hibernation of Chaucer&#039;s decasyllabic line.  By studying the stresses and their positions in the line, Halle and Keyser have concluded that later poets seem not so much to have changed the rules of Chaucer&#039;s iambic pentameter as to have observed the rules differently.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261531">
    <dcterms:title><![CDATA[Chaucer&#039;s Decibels]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer is more attentive to the noises produced by people and their actions than to those of natural phenomena.  He often suggests noises rather than describing them directly.  His noisiest passages involve tournaments, chases, and music.]]></dcterms:description>
</rdf:Description></rdf:RDF>