<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/277177">
    <dcterms:title><![CDATA[Lik Antigone v predmoderni literaturi.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys depictions of Antigone in western literature from Antiquity through the late Middle Ages, with assessment of Chaucer&#039;s characterization of her in TC as an interweaving of Trojan and Theban traditions. In Bulgarian with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277176">
    <dcterms:title><![CDATA[Forming Pity: Responses to Suffering in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Presents the role of pity as an &quot;essential virtue&quot; that does not negate suffering in TC; claims that Chaucer shifts language as a way to understand the &quot;complex social and subjective position of pity&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277175">
    <dcterms:title><![CDATA[Introduction [Colloquium: Historizing Consent: Bodies, Wills, Desires]]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies Criseyde&#039;s comment to Troilus about consent in TC, 3.1210–11 as evidence of her awareness of difference between &quot;survival strategy&quot; and &quot;affirmative consent.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277174">
    <dcterms:title><![CDATA[&quot;. . . Criseyda, / In widewes habit blak&quot; (I.169–70): Fourteenth-Century English Widows and the Victimization of Criseyde.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates TC&#039;s portrayal of Criseyde as a representation of English widows facing threats and deceit. Utilizing legal records of the time, considers how Poliphete&#039;s false suit mirrors real cases of widows unjustly targeted for their property and manipulated by men. In Japanese, with English abstract]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277173">
    <dcterms:title><![CDATA[The Futility of Prophecy: Prophecy and Poetry in English Narratives of Troy.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the themes of prophecy and retold narrative in premodern works about Troy by Virgil, Dares and Dictys, Chaucer (TC), Lydgate, and Shakespeare, arguing that, in various ways, they &quot;call into question the efficacy of poetry and of knowledge, but they do so in ways that ultimately reaffirm the power and limits of both knowledge and literature.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277172">
    <dcterms:title><![CDATA[Beyond the Girlboss.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Criseyde in TC and the protagonists of LGW as evidence of Chaucer&#039;s effort &quot;to articulate the problem of writing about women: in the public eye, no female character is entitled to a full personality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277171">
    <dcterms:title><![CDATA[Swoon: A Poetics of Passing Out.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys literary representations of swooning from late medieval works to modern ones, assessing how the motif is &quot;inflected and re-inflected as ideas of the body, gender, race, sexuality and sickness shift through time.&quot; After an introductory essay on theorizations of swooning and fainting, Chapter 1, &quot;Heart-Stopped Transformations: Swooning in Late Medieval Literature,&quot; includes discussion of TC, in which swoons signify danger and transformation, with contrasts between Troilus&#039;s and Criseyde&#039;s swoons reflecting their individual vulnerabilities that comprise an anatomy of erotic love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277170">
    <dcterms:title><![CDATA[Calkas&#039;s Daughter: Paternal Authority and Feminine Virtue in &quot;Troilus and Criseyde&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Criseyde&#039;s role as daughter in TC, Calkas&#039;s putative authority over her in marital matters, and the views of other characters concerning her ambiguous, conditional consent to her father&#039;s wishes. Treats Criseyde&#039;s &quot;feminine virtue&quot; and Calkas&#039;s authority over her as reflections of medieval social expectations, arguing that the appearance of Criseyde&#039;s consent is (like Calkas&#039;s authority) &quot;performative,&quot; her means to keep her reputation intact while maintaining considerable independence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277169">
    <dcterms:title><![CDATA[&quot;A Sacramental Moment&quot;: Liturgy and Time in the Victorian Reception of the Past.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;the importance of ritual in the Victorian reception of the medieval past,&quot; including discussion of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277168">
    <dcterms:title><![CDATA[Henry Bradshaw&#039;s Rhyme Tests and the Formation of the Chaucer Canon: The Glasgow &quot;Romaunt of the Rose&quot; and the &quot;Tale of Gamelyn.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contains archival evidence and unpublished papers from Henry Bradshaw. Examines Bradshaw&#039;s &quot;rhyme tests,&quot; which he used to establish Chaucerian authorship of the &quot;Tale of Gamelyn&quot; and Rom, and accounts for Walter W. Skeat&#039;s sometimes incorrect results.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277167">
    <dcterms:title><![CDATA[The Varieties of Amorous Experience: For Voice &amp; Piano.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this musical score includes &quot;Qui bien aime&quot; by Geoffrey Chaucer, i.e., the title of a French song cited in several manuscripts of PF before the roundel at PF, 680-92, here set to music, along with selections from Thomas Flatman, William Shakespeare, and Coventry Patmore.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277166">
    <dcterms:title><![CDATA[Natural Law and Parliamentary Election in Geoffrey Chaucer&#039;s &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that PF reflects a movement from natural law to a more subjective interpretation of individual rights and ties this transition to the crisis of &quot;commonalty&quot; in the late fourteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277165">
    <dcterms:title><![CDATA[The Translator as Author: The Case of Geoffrey Chaucer&#039;s &quot;The Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts medieval and modern ideas of authorship, focusing on how Chaucer &quot;treated old authorities in developing his own reputation and what strategies he employed to establish a harmony among the multiple authorial voices&quot; in PF. Proposes that, for Chaucer, authorship is defined by the &quot;level of the author&#039;s creative input&quot; in combination with the occasion of a work, its &quot;original context and purpose,&quot; and its various possible audiences]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277164">
    <dcterms:title><![CDATA[Disharmonic Spheres: Metapoetic Noise in Geoffrey Chaucer&#039;s &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the background to and representations of the harmony of the spheres in PF and in HF, arguing that both poems depict the &quot;three ventricles of the brain&quot;--imagination, logic, and memory--and that, through parody and/or inversion, each depicts a poetics, &quot;the cornerstone of which is disharmony rather than harmony.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277163">
    <dcterms:title><![CDATA[The Dragon of Love: Chaucer&#039;s Jason and the Cycle of Consumption in the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Jason in LGW and other sexually predatory men, examines a number of motifs in Chaucer&#039;s version of Jason, and highlights the danger of men such as Jason who hide their behavior behind gentility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277162">
    <dcterms:title><![CDATA[Female Goodness for Geoffrey Chaucer: Misconception or Intention?]]></dcterms:title>
    <dcterms:description><![CDATA[Briefly summarizes LGWP and assesses in detail each of the legends, arguing that, generally, Chaucer&#039;s anti-misogynistic effort fails. Although his &quot;primary goal is to speak of good women as examples for the society and equal to men,&quot; his selection of women, his sources, his characterizations of women and men, and his &quot;&quot;of goodness&quot; are fundamentally patriarchal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277161">
    <dcterms:title><![CDATA[Dismembered Memories: Philomela in Chaucer and Gower.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts Chaucer&#039;s and Gower&#039;s Philomela stories, focusing on differences between the nuances and implications of weaving in LGW and embroidery in &quot;Confessio Amantis,&quot; and arguing that Chaucer&#039;s version aligns better with modern understanding of &quot;trauma-fragmented memory,&quot; speaking, and rape survival.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277159">
    <dcterms:title><![CDATA[Ambient Media and Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that, rooted in &quot;medieval theory of mediated perception&quot; and concerned with perceptual distortion, HF shows how a &quot;sensing body&quot; participates in an &quot;ambient mediascape&quot;--one that includes environmental media (air, water, architecture) as well as aesthetic media (painting, engraving, writing).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277158">
    <dcterms:title><![CDATA[The Hall of Honor: Chaucer, Hawes, and the Conclusion to Gerard Legh&#039;s &quot;Accedens of Armory.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows how Legh uses the dream vision structure from HF but employs a frame of memory and &quot;argues against Chaucer&#039;s position that fame is unrelated to deserving.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277157">
    <dcterms:title><![CDATA[On Truth, &quot;Pietà,&quot; and Reader Response to Dante&#039;s &quot;Purgatory&quot; 10 and Chaucer&#039;s &quot;House of Fame 1.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the hermeneutics of ekphrastic scenes in &quot;Purgatorio&quot; and HF: the viewing by Dante&#039;s viator of bas-reliefs in the first cornice of Purgatory (X.25ff.) encourages emotional detachment when searching for truth in art; Geffrey&#039;s compassion when viewing the murals on the walls of Venus&#039;s temple in HF (140ff.) &quot;is precisely what prompts him to reject such representations and search for truth elsewhere.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277156">
    <dcterms:title><![CDATA[Airy Bodies and Knowledge in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;embodiment of language&quot; in HF and argues that it displays epistemological &quot;confidence in the ability of the textual word/body to communicate accurately to the reader&#039;s imagination in a synesthetic experience.&quot; Focuses on how Chaucer (following Dante&#039;s Thomistic hylomorphism) &quot;portrays audible speech as visible shades of the speakers&quot; and &quot;calls attention to the spoken word embodied in writing.&quot; Also comments on the textual history of HF in manuscripts and early print.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277155">
    <dcterms:title><![CDATA[Poetry and the Bird in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the eagle in HF &quot;represents poetry,&quot; manifest in its &quot;uncanny perception,&quot; its ability to &quot;uplift&quot; the narrator, and its concern with sound and transformative power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277154">
    <dcterms:title><![CDATA[Chrematistische Poetik: Mentale Haushaltsführung in Geoffrey Chaucers &quot;Traumvisionen.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that HF depicts a journey through the mental operation of using traditional classical material to generate new literature (tidings) and, in doing so, reflects aspects of late medieval understanding of psychology and economics. Crucial to the latter is a shift from the model of household maintenance to that of chresmatistic mercantile expansion, which depends upon dislocation, multiplication, even unnatural usury--in various ways analogous to imagination rather than memory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277153">
    <dcterms:title><![CDATA[&quot;But men seyn, &#039;What may ever last?&#039;&quot;: Chaucer&#039;s &quot;House of Fame&quot; as a Medieval Museum.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers possibilities of assessing material archeology in medieval literature and offers a case study concerning HF, observing connections between the brass-tablet account of Aeneas in the poem (lines 140ff.) and monumental brasses, hypothesizing Fame&#039;s palace as a medieval version of a museum, and connecting them both with the open-endedness of the poem and early modern sensibilities.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277152">
    <dcterms:title><![CDATA[Pope and Chaucer: Reconstructing &quot;The House of Fame&quot; in the Reign of Queen Anne.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in his reworking of HF as &quot;The Temple of Fame,&quot; Alexander Pope &quot;comprehensively repudiates the inconclusiveness&quot; of Chaucer&#039;s work. Where Chaucer suggests &quot;the contradictions and confusions&quot; of literary tradition and authority, Pope assumes authority and &quot;almost entirely excludes hesitancy and ambiguity from his consideration.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>