<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/262689">
    <dcterms:title><![CDATA[Chaucer&#039;s Experiment in Narrative Metadrama: The General Prologue as &#039;Dramatis Personae&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer perhaps intended to allow the GP pilgrims to serve as the &quot;&#039;dramatis personae&#039; of the Tales themselves&quot; and to move among the complicated levels of reality in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261591">
    <dcterms:title><![CDATA[Chaucer&#039;s Experiments with the &#039;Thrifty Tale&#039;: The Narratives of the Man of Law, the Clerk, and the Physician]]></dcterms:title>
    <dcterms:description><![CDATA[MLT, ClT, and PhyT address the same question: how can God allow the innocent to suffer and the wicked to go unpunished?  Although in each case Chaucer enhances the virtue of the protagonist and the pathos of her suffering, he tests diverse resolutions through differences in genre, point of view, and plot, thereby relating aesthetic choices to ethical assumptions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265379">
    <dcterms:title><![CDATA[Chaucer&#039;s Eye of the Lynx and the Limits of Vision]]></dcterms:title>
    <dcterms:description><![CDATA[In Bo, Chaucer&#039;s substitution of &quot;the eye of the lynx&quot; for the original &quot;eye of Lynceus&quot; points to his philosophy of vision.  The lynx is sharp sighted and can perceive &quot;the imperfection of things apparently fair.&quot;  The poet&#039;s task is also to see beyond the limits of the eye.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274181">
    <dcterms:title><![CDATA[Chaucer&#039;s Fabliau Women: Paradigms of Resistance and Pleasure.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the role and status of women in the fabliau genre, and argues that May of MerT and Alisoun of MilT are &quot;women of resistance . . . concerned with regaining partial control over their own bodies through adultery.&quot; The two characters produce &quot;oppositional pleasures&quot; in order to &quot;play their subjection to their own advantage.&quot; Includes a summary in Turkish.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261220">
    <dcterms:title><![CDATA[Chaucer&#039;s Fabliaux as Analogues]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the phenomenon of literary analogues through a pragmatic and structuralist analysis of four salient components of narrative, each illustrated with examples from Chaucer&#039;s fabliaux and their analogues in various European languages.  The conclusion calls attention to two aspects that set Chaucer&#039;s fabliaux apart from the analogues: their context in CT and their explicit intertextuality.  The study ends with reflections on the concept of analogy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272958">
    <dcterms:title><![CDATA[Chaucer&#039;s Failure with Women: The Inadequacy of Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s depictions of Criseyde and the Wife of Bath as &quot;marred&quot; by unconscious &quot;psychic blinders&quot; of his male-dominated age, each lacking a &quot;life all her own.&quot; Alison is one of Chaucer&#039;s &quot;great comic actors,&quot; but not psychically a woman, lacking a &quot;feminine point of view.&quot; Similarly &quot;fabricated from a male point of view,&quot; Criseyde lacks a feminine &quot;psychic superstructure,&quot; her infidelity left unexplained; she suffers in comparison with Shakespeare&#039;s more dramatic and more fully realized Cressida.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276837">
    <dcterms:title><![CDATA[Chaucer&#039;s Fame in Britannia, 1641–1700.]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies 1,060 entries that identify references to, allusions to, and echoes of Chaucer and his works in books published from 1641 through 1700, with an appendix of 131 references and allusions from 1475 through 1640, all in addition to or expansions of Caroline Spurgeon&#039;s venerable bibliography, already extended by Boswell and Sylvia Wallace Holton in &quot;Chaucer&#039;s Fame in England&quot; (2004). Entries are arranged chronologically by date of publication and, within years, alphabetically. They provide, where appropriate, quotations from the sources, original STC numbers, Wing&#039;s STC numbers, and UMI references; headnotes indicate who discovered the references. The volume includes an introduction by Gordon Braden on Chaucer&#039;s reception; a list of STC books cited; and indexes of Chaucer&#039;s works, his life and literary reputation, and authors and topics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268529">
    <dcterms:title><![CDATA[Chaucer&#039;s Fame in England : STC Chauceriana 1475-1640]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies 1,378 &quot;references to, allusions to, and echoes of Chaucer and his works in printed books published between 1475 and 1640,&quot; updating and correcting a portion of Caroline Spurgeon&#039;s landmark bibliography. Entries are arranged chronologically by date of publication and, within years, alphabetically; they provide bibliographical information, including Short Title Catalog (STC) numbers, and (where appropriate) quote the source and identify subsequent editions. Headnotes indicate who discovered the references. The work includes several appendices and indexes: STC books, a general index, an index of Chaucer&#039;s life and reputation, an index of Chaucer&#039;s works, and a list of works cited.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272407">
    <dcterms:title><![CDATA[Chaucer&#039;s Fancy Squire]]></dcterms:title>
    <dcterms:description><![CDATA[The Squire&#039;s digressive, complex tale may be understood as a reenactment of the creative process. Critics may be mistaken in trying to explain the significance of the four gifts, the falcon&#039;s distress, and other details, if the center of the tale is the extravagance of invention itself.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276123">
    <dcterms:title><![CDATA[Chaucer&#039;s Fantasy of Pity.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines pity and the construction of pity in KnT in particular to show how Chaucer&#039;s use of and changes to the &quot;Teseida &quot;produce a desire for female autonomy that doesn&#039;t threaten male patriarchy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274399">
    <dcterms:title><![CDATA[Chaucer&#039;s Fatalistic Miller.]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that the details and description of astrology in MilT along with its foreshadowing imagery establish a theme of Boethian determinism in the Tale. Accordingly, the character of each of the three male actors determines his unforeseen fate and punishment. Similarly, Alison&#039;s animalism, also conveyed via imagery, exempts her of responsibility and punishment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274130">
    <dcterms:title><![CDATA[Chaucer&#039;s Feminine Pretexts: Gendered Genres in Three Frame Moments.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores what Chaucer&#039;s use of genres strongly associated with female readers--such as vernacular devotional writing, conduct literature, and hagiography--suggests about his attitudes toward women. Examines the significance of the catalogue of Chaucer&#039;s works, including a lost translation of Pseudo-Origen&#039;s &quot;De Maria Magdalena,&quot; in LGW. Addresses Harry Bailly&#039;s response to Mel and its relationship to conduct literature, and the Man of Law&#039;s characterization of Chaucer as a writer of female saints&#039; lives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271911">
    <dcterms:title><![CDATA[Chaucer&#039;s Feminine Subjects: Figures of Desire in &quot;The Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes how Chaucer&#039;s rhetorical constructions decenter self-disclosure and resist simplistic notions of gender in WBPT, ClT, FranT, and PhyT. Figurative or allusive speech cannot adequately represent subjectivity and desire. Chaucer&#039;s treatments of the feminine subject are not univocal; however, his tales can both reinforce and undermine cultural and gender norms.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263152">
    <dcterms:title><![CDATA[Chaucer&#039;s Fiction and Linguistic Self-Consciousness in the Late Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s ludic use of language reflects the contemporary attitude toward &quot;translatio&quot; (the transformation of meaning and content and the creation of ambiguity) and the emphasis in logic and grammar on the limitations and inadequacy of language and on the difficulty of interpretation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264089">
    <dcterms:title><![CDATA[Chaucer&#039;s Fifteenth-Century Audience and the Narrowing of the &#039;Chaucer Tradition&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Few of Chaucer&#039;s primary audience (men like Sturry, Clifford, Clanover, Montagu, Vache, Scogan, Bukton, Gower, Strode, and Usk) survived him or were still active after his death.  His fifteenth-century audience was more broadly dispersed but more narrow, conservative, and prudent in its taste.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Daniel J. Pinti, &quot;Writings After Chaucer&quot; (New York and London: Garland, 1998), pp. 101-26.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276353">
    <dcterms:title><![CDATA[Chaucer&#039;s Fifteenth-Century Successors.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the emphases and nuances of early critical praise and imitation of Chaucer&#039;s poetry among writers such as John Lydgate, Stephen Hawes, the author of &quot;The Book of Curtysye,&quot; and others. Focuses on their assessments of the &quot;craftsmanship&quot; of Chaucer&#039;s rhetoric, diction, and meter (including discussion of final &quot;-e&quot;), and their failure to match successfully the &quot;aptness, conciseness, freshness, and polish&quot; of his poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265201">
    <dcterms:title><![CDATA[Chaucer&#039;s Final -E: Some Discourse Consideration]]></dcterms:title>
    <dcterms:description><![CDATA[Like the &quot;Gawain&quot; poet, Chaucer manipulates tense for narrative purposes, often using the historical present to accentuate &quot;key events, characters, and descriptions.&quot;  Some of Chaucer&#039;s endings may have been added by scribes, making his exact methodology more difficult to determine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263279">
    <dcterms:title><![CDATA[Chaucer&#039;s First Ovid: Metamorphosis and Poetic Tradition in &#039;The Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In BD, the &quot;Metamorphoses&quot; provides a positive paradigm for exploring the relationships of grief and poetry, whereas Ovid&#039;s work yields a negative paradigm for the representation of Fame in HF.  Deals with the creative process in dream visions; and fame.  Draws on Boethius, Virgil, and Ovid.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271985">
    <dcterms:title><![CDATA[Chaucer&#039;s First Three Tales: Unity in Trinity]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the first three tales in CT as a gradated and &quot;symmetrical&quot; treatment of love that moves from the non-physical idealism of KnT to the mixture of emotion and action in MilT and on to the revenge and &quot;physical realism&quot; of RvT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263215">
    <dcterms:title><![CDATA[Chaucer&#039;s Fish]]></dcterms:title>
    <dcterms:description><![CDATA[The Cook&#039;s reheated &quot;Jakke of Dovere&quot; (CT A 4347) may refer to a fish dish.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261786">
    <dcterms:title><![CDATA[Chaucer&#039;s Flexippe]]></dcterms:title>
    <dcterms:description><![CDATA[Criseyde&#039;s niece Flexippe is named after Plexippus in Ovid&#039;s story of Meleager.  The reference to Flexippe in TC 2 is clarified in TC 5 by Cassandra&#039;s relating this very story and giving it an allegorical interpretation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273103">
    <dcterms:title><![CDATA[Chaucer&#039;s Forests, Parks, and Groves]]></dcterms:title>
    <dcterms:description><![CDATA[Rather than consider the forests and woods in Chaucer&#039;s work symbolically, offers an eco-materialist reading of Chaucer&#039;s work as Clerk  of the King and as forester of North Petherton. Argues that these positions inform Chaucer&#039;s settings and descriptions of woods and land-use in his literary works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273191">
    <dcterms:title><![CDATA[Chaucer&#039;s Formal Histories: Temporality and Intertextuality from the Italian Trecento to &#039;Troilus and Criseyde&#039; and &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers vernacular change and development in Chaucer&#039;s work through the lens of a suggested parallel to fourteenth-century Italian poetry that &quot;inspired scribes and translators to develop sophisticated methods of using form to reflect historical, lexical, and cultural difference between past and present.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268878">
    <dcterms:title><![CDATA[Chaucer&#039;s Fortune in the 1530&#039;s : Some Sixteenth-Century Recycling]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses William Calverley&#039;s &quot;Dyalogue Bitwene the Playntife and the Defendaunt&quot; (ca. 1530-35?) in light of the &quot;Boethian motif of the prisoner of fortune,&quot; discussing Chaucer&#039;s influence, especially among printers interested in religious or political commentary.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262890">
    <dcterms:title><![CDATA[Chaucer&#039;s Frame Tales: The Physical and the Metaphysical]]></dcterms:title>
    <dcterms:description><![CDATA[Essays by various hands.  For six essays that pertain to Chaucer, search for Chaucer&#039;s Frame Tales under Alternative Title.]]></dcterms:description>
</rdf:Description></rdf:RDF>