<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/262423">
    <dcterms:title><![CDATA[Chaucer&#039;s Double Telling of the &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[If Chaucer intended to turn Boccaccio&#039;s &quot;Teseida&quot; into a chivalric romance, he did not succeed, &quot;but if his purpose was to make the frequently banal conventions and optimistic outlook of that genre play an ironic counterpoint to the tale&#039;s bleak picture of the human condition, the result is a &#039;tour de force&#039;.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263167">
    <dcterms:title><![CDATA[Chaucer&#039;s Drama of Style: Poetic Variety and Contrast in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Despite the tenets of &quot;dramatic theory&quot; from Kittredge to modern times, the links between the pilgrims and their tales are not reliable bases on which to build valid literary criticism.  Not the psyches of the pilgrims but the different styles of the poems themselves dictate their variety.]]></dcterms:description>
    <dcterms:description><![CDATA[Critics who believe in the psychological reality of the Pardoner confuse literature and life; instead of searching for the unity of CT, we must search for variety and conflict.  A good Christian and a good poet, Chaucer uses stylistic variety to instruct &#039;and&#039; delight.  Benson considers GP, Chaucer the Pilgrim, Th, Mel, KnT, MilT, RvT, ShT, MerT, PrT, SNT, style, and language.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272135">
    <dcterms:title><![CDATA[Chaucer&#039;s Dream Poems]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the &quot;meaning of the dream-poems,&quot; exploring Chaucer&#039;s concerns with the &quot;nature and causes&quot; of dreams, the importance and role of imagination, tensions between courtly and commonplace ideals, and the &quot;contest&quot; between &quot;authority and disorder.&quot; Individual chapters on BD, HF, and PF attend to Chaucer&#039;s adaptations of sources to underpin thematic readings, and a final chapter assesses how the narrative personae of these poems (and LGWP) anticipate the &quot;essentially comic character&quot; of the narrator of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266327">
    <dcterms:title><![CDATA[Chaucer&#039;s Dream Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Edits Book of the Duchess, House of Fame, Parliament of Fowls,and portions of Legend of Good Women (G-version Prologue and Dido), providing an introduction, bottom-of-the-page glosses and commentary, selected source material, and textual notes for each poem, plus a bibliography, selective glossary, and comprehensive list of names for the entire volume.]]></dcterms:description>
    <dcterms:description><![CDATA[The general introduction comments on classical and medieval dream theories, the literary tradition of the dream vision, relations with the &quot;Roman de la Rose,&quot; and Chaucer&#039;s narrative techniques.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268857">
    <dcterms:title><![CDATA[Chaucer&#039;s Dream Poetry [Chaucer no Yume Monogatari Shi]]]></dcterms:title>
    <dcterms:description><![CDATA[Japanese translation of BD, HF, and PF, based on Robinson&#039;s and Skeat&#039;s editions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264220">
    <dcterms:title><![CDATA[Chaucer&#039;s Dream Poetry: Sources and Analogues]]></dcterms:title>
    <dcterms:description><![CDATA[The chief French sources and analogues of Chaucer&#039;s four dream poems, presented here in translation, are brought together for the first time.  Included are Machaut&#039;s &quot;Jugement dou Roy de Behaingne,&quot; Froissart&#039;s &quot;Paradys d&#039;amours,&quot; Jean de Conde&#039;s &quot;Messe des oisiaus,&quot; and the &quot;Fablel dou dieu d&#039;amours.&quot;  All or part of fourteen other French poems appear, along with Cicero&#039;s &quot;Dream of Scipio&quot; and bits of Boccaccio&#039;s &quot;Teseida&quot; and the &quot;Complaint of Nature&quot; of Alanus de Insulis.]]></dcterms:description>
    <dcterms:description><![CDATA[Footnotes and an &quot;Index of Parallels&quot; document parallel passages to the BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267756">
    <dcterms:title><![CDATA[Chaucer&#039;s Dream Visions : Courtliness and Individual Identity]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the philosophical content of Chaucer&#039;s dream visions--the interplay between the soul and its courtly context--arguing that in Chaucer&#039;s world, the ideal of courtesy rather than any explicitly spiritual principle holds together a fictive community. BD highlights the moral dilemmas of fin amor viewed from a spiritual perspective. The avian parliament in PF offers a political ideal as an enfranchised and socially beneficial courtly desire. In HF, &quot;commune profit&quot; replaces &quot;singuler profit&quot; through the protocols of courtliness. LGW presents two aspects of courtliness: a collective body of traditions and the promotion of counsel and reason, stimulating thought about fin amor.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267111">
    <dcterms:title><![CDATA[Chaucer&#039;s Dream Visions and Shorter Poems]]></dcterms:title>
    <dcterms:description><![CDATA[Sixteen essays by various authors on BD, HF, PF, LGW, and the short poems. Fifteen are reprints or excerpts from longer works published between 1948 and 1994. Includes a brief introduction to each of the poems (and the section on the short poems), a &quot;bibliographic note,&quot; and a comprehensive list of works cited. For the one new essay, search for Chaucer&#039;s Dream Visions and Shorter Poems under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263921">
    <dcterms:title><![CDATA[Chaucer&#039;s Dream Visions: His Evolving Critical Perspective]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s dream visions reveal him as immersed in a literary quarrel of ancients and moderns.  His iconoclasm is restrained in BD and HF, but he mocks the artificiality and decadence of contemporary love poetry in PF and LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265256">
    <dcterms:title><![CDATA[Chaucer&#039;s Dream-Vision Poems and the Theory of Spatial Form]]></dcterms:title>
    <dcterms:description><![CDATA[Applies Joseph Frank&#039;s theory of &quot;spatial form&quot; in the modern novel (forms in which meaning is created through simultaneity and juxtaposition rather than through linearity and causation) to BD, PF, and HF.  Examines particularly the use of myth (Seys and Alcyone, Affrican, Dido and Aeneas) in creating apparent discontinuities between the openings of the poems and their dream visions-proper.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266994">
    <dcterms:title><![CDATA[Chaucer&#039;s Duchess and Chess]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s reference to &quot;ferses twelve&quot; in BD remains a tantalizing problem. He may have been thinking of a non-standard version of chess, such as the Courier game, which includes twelve pawns; or the narrator may be thinking of draughts. In any case, exact definition of the game is less important that the fact that it expresses &quot;man&#039;s relationship to eternity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271764">
    <dcterms:title><![CDATA[Chaucer&#039;s Eagle and the Element Air]]></dcterms:title>
    <dcterms:description><![CDATA[Explains the association of the eagle and air (as the medium of sound) in HF by identifying a number of iconographic affiliations of eagles with air in medieval depictions of the four elements. Includes 6 b&amp;w illustrations]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275819">
    <dcterms:title><![CDATA[Chaucer&#039;s Eagle: A Contemplative Symbol.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the eagle of HF &quot;in the light of medieval expositions of the soaring eagle as an image of the flight of thought,&quot; focusing on the bird as an &quot;intellectual symbol&quot; and its flight as an &quot;act of contemplation&quot; as seen in Gregory&#039;s &quot;Moralia in Job&quot; and its commentaries, commentaries on Dante&#039;s &quot;Comedy,&quot; and commentaries on the opening of Book IV of Boethius&#039;s &quot;Consolation of Philosophy,&quot; Chaucer&#039;s immediate source for the image.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264461">
    <dcterms:title><![CDATA[Chaucer&#039;s Eagle&#039;s Ovid&#039;s Phaethon: A Study in Literary Reception]]></dcterms:title>
    <dcterms:description><![CDATA[In having the Eagle retell the story of Phaethon from Ovid and from medieval interpretations of Ovid, Chaucer oversimplifies and creates conflicts or deficiencies of meaning; this allusive and contradictory treatment of literary tradition in HF signals Chaucer&#039;s method in his later poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277704">
    <dcterms:title><![CDATA[Chaucer&#039;s Eagles and Their Choice on February 14.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares and contrasts the relative courtliness of a range of Valentine&#039;s Day poems by Graunson, Gower, Lydgate, and Charles of Orleans to make clear that the First Eagle&#039;s address to the formel eagle in PF is comically inappropriate and pompous, even aggressive. Extends the argument Stillwell posed in &quot;Unity and Comedy in the &#039;Parlement of Foules,&#039;&quot; JEGP 49 (1950): 470-95.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276916">
    <dcterms:title><![CDATA[Chaucer&#039;s Early and Late Uses of the Two French &quot;Rose&quot; Authors.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that both Guillaume de Lorris and Jean de Meun--and their &quot;respective &#039;poetics&#039;&quot;--are &quot;at issue&quot; in BD 321–34 (where the &quot;Roman de la Rose&quot; is named), and in GP 725–46 (&quot;Chaucer&#039;s Apology&quot;). These evince Chaucer&#039;s deep, sophisticated, and career-long engagement with poetic sensibilities that underlie the &quot;double-author&quot; &quot;Rose&quot; and its views on glossing, translation, and truth-value. Also comments on Chaucer&#039;s use of the &quot;Rose&quot; in LGWP F328-31]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277371">
    <dcterms:title><![CDATA[Chaucer&#039;s Early Modern Readers: Reception in Print and Manuscript.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses &quot;on fifteenth-century manuscripts of Chaucer, and . . . how these volumes were read, used, valued, and transformed&quot; in the early modern period, reflecting &quot;conventions which circulated in print and . . . convey prevailing preoccupations about Chaucer,&quot; his status, and the medieval past. Four chapters treat Chaucerian manuscripts and editions, addressing, respectively, (1) &quot;Glossing, Correcting, and Emending&quot;; (2) &quot;Repairing and Completing&quot;; (3) &quot;Supplementing&quot;; and (4) &quot;Authorising&quot; as ways of pursuing the ideologically charged bibliographical goal of perfecting Chaucerian texts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262489">
    <dcterms:title><![CDATA[Chaucer&#039;s Early Poem &#039;De casibus virorum illustrum&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[MkT is very likely a virtually unrevised early poem, the first to be written after Chaucer&#039;s return from Italy in 1372 and his first collection of stories.  As such, it deserves a separate existence, as Chaucer&#039;s early poem &#039;De casibus vivorum illustrum&#039;.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272285">
    <dcterms:title><![CDATA[Chaucer&#039;s Early Poetry: A Study of Imagery in Relation to Theme and Structure]]></dcterms:title>
    <dcterms:description><![CDATA[Studies how imagery contributes to theme and operates at an element of structure in BD, HF, PF and TC: light and dark imagery in BD, acoustic imagery in HF, natural versus courtly love in PF, and the contrast of fortune&#039;s wheel and celestial light in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274547">
    <dcterms:title><![CDATA[Chaucer&#039;s Early Poetry.<br />
Chaucer Frühe Dichtung.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how Chaucer&#039;s early poems (i.e., those written before 1380) engage the conventional forms, techniques, and themes of French and Italian models, enriching them via &quot;humour and realism&quot; and applying them to &quot;new uses.&quot; His innovative &quot;juxtapositions and sequences&quot; reflect both his &quot;poetic temperament&quot; and a &quot;transitional period&quot; in literary history. In BD he makes the &quot;style and form of French poetry come alive within his English idiom,&quot; combining dream vision, elegy, and dramatic conversation in a &quot;novel&quot; combination of &quot;heterogeneous elements.&quot; The &quot;humour and irony&quot; of HF results from his experiments with an unexpected narrative persona, stylistic variety, wry uses of source material, and startling juxtapositions and reversals, remaking the traditional &quot;allegorical journey,&quot; PF is a &quot;conscious work of art&quot; that explores aspects of the allegorical mode (personification, allegoresis, beast fable, etc.) and submits its themes and techniques to genial satire. In various ways, ABC, Pity, Lady, Mars, and Anel also illustrate Chaucer&#039;s attraction--and resistance--to poetic traditions. Adapted and expanded from the author&#039;s 1938 &quot;Der Junge Chaucer,&quot; and published simultaneously in German and English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264351">
    <dcterms:title><![CDATA[Chaucer&#039;s Early Translations from French: The Art of Creative Transformation]]></dcterms:title>
    <dcterms:description><![CDATA[The success of Chaucer&#039;s early translations from French cannot be attributed solely to his knack for finding the &quot;mot juste&quot; or to his &quot;good ear&quot; for English idiom.  He drew on the native English poetic tradition for visual concreteness and meaningful rhythms.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261548">
    <dcterms:title><![CDATA[Chaucer&#039;s Edwardian Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Considers BD, ABC, Pity, and HF to be Chaucer&#039;s &quot;Edwardian&quot; poetry, produced when he was closely associated with the royal family--first with the households of Elizabeth of Ulster and her husband, Prince Lionel, and then with the king&#039;s household.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274450">
    <dcterms:title><![CDATA[Chaucer&#039;s Elegiac Knight.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the relationship between reality and romance in KnT, comparing the Tale&#039;s presentation of details and ideals with those found in Froissart&#039;s &quot;Chronicle,&quot; and arguing that the Knight operates with the &quot;assumptions of chronicle history&quot; and &quot;the literary matter of romance,&quot; a &quot;striking contradiction&quot; that unsettles the Boethian consolation of the Tale&#039;s ending and leaves unresolved the role of human nobility within Providence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273225">
    <dcterms:title><![CDATA[Chaucer&#039;s Elysian Fields (&#039;Troilus&#039; IV, 789f)]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the &quot;Ovide Moralisé&quot; (14.827-30) is the &quot;probable source&quot; of the reference to Elysium in TC 4.789-90.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269153">
    <dcterms:title><![CDATA[Chaucer&#039;s Emotion Lexicon: Passioun and Affeccioun]]></dcterms:title>
    <dcterms:description><![CDATA[While six Middle English terms of emotion are in some measure coterminous - &quot;onde,&quot; &quot;affect,&quot; &quot;mood,&quot; &quot;spirit,&quot; &quot;passioun,&quot; and &quot;affeccioun&quot; - only the latter two closely approximate modern usage. &quot;Passioun&quot; connotes a state of being acted upon; &quot;affeccioun&quot; connotes action and, in Chaucer, is usually synonymous with love. Diller draws examples from Bo, ParsT, and TC.]]></dcterms:description>
</rdf:Description></rdf:RDF>