<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/266423">
    <dcterms:title><![CDATA[Chaucer&#039;s Gardens and the Language of Convention]]></dcterms:title>
    <dcterms:description><![CDATA[Examines gardens in Chaucer&#039;s narratives as a means to show how literary and social conventions impose constraints and provide opportunities for the poet and characters alike to react to conventions.  Surveys literary and historical gardens with which Chaucer was familiar, showing how medieval parks anticipate Renaissance formal gardens and how medieval gardens carry complex metaphorical, rhetorical, and cultural values, as well as implications for genre.]]></dcterms:description>
    <dcterms:description><![CDATA[In BD and PF, Chaucer adapts familiar garden topoi to escape their conventionality.  In TC, gardens create the illusion of safety for the lovers, but like conventions of courtly love, the illusion betrays them.  In KnT, MerT, and FranT, gardens manifest the efforts of men to control women and of women to break this control.  As women escape control, so Chaucer escapes literary conventions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261322">
    <dcterms:title><![CDATA[Chaucer&#039;s Gardens: The Language of Convention in Chaucer&#039;s Narrative Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer employs traditional garden topoi (locus amoenus, hortus conclusus, and paradys d&#039;amours) to draw attention to precursors, to create discrepancy between CT context and tradition, to individualize narrators, and to show literary indebtedness in BD, PF, TC, KnT, MerT, and FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265656">
    <dcterms:title><![CDATA[Chaucer&#039;s Garrulous Heroine: Alice of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the Wife of Bath&#039;s &quot;colloquial, conversational idiom as a key to her character,&quot; examining details of diction, syntax, and imagery, and comparing her with Alison of MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277495">
    <dcterms:title><![CDATA[Chaucer&#039;s Gender-Oriented Philosophy in &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys issues of gender in CT and Chaucer studies, arguing that Chaucer&#039;s realistic portrayal of human variety makes it difficult to claim him to be either feminist or misogynistic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270299">
    <dcterms:title><![CDATA[Chaucer&#039;s General Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that GP 198-200 alludes to Matthew 6.16-18 and helps to characterize the Monk as &quot;contemptuous of fasting.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267776">
    <dcterms:title><![CDATA[Chaucer&#039;s General Prologue to the Canterbury Tales and the &#039;Lives&#039; of the Troubadours]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that collected &quot;vidas,&quot; or &quot;lives,&quot; of the troubadours may have served as Chaucer&#039;s model for the &quot;portraits&quot; of the pilgrims in GP. Individual &quot;vidas&quot; open anthologies of troubadour verse in some fourteenth-century manuscripts, and Chaucer may be comically adapting this convention.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277072">
    <dcterms:title><![CDATA[Chaucer&#039;s General Prologue to the Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Facing-page translation of GP into modern English iambic decasyllables; features illustrations of the pilgrims--reproductions of Caxton&#039;s woodcuts paired with original woodcut portraits--and an extensive glossary.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265072">
    <dcterms:title><![CDATA[Chaucer&#039;s General Prologue, 133-136]]></dcterms:title>
    <dcterms:description><![CDATA[That the passage describing the Prioress&#039;s habit of wiping her mouth clean (GP, 133-36) has been misunderstood is shown in the translations by all modern translators, except Coghill, of &quot;hir&quot; in the phrase &quot;hir coppe: (133) as &quot;her&quot; when it should be rendered as either &quot;the&quot; or &quot;their.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276382">
    <dcterms:title><![CDATA[Chaucer&#039;s General Prologue, A 163.]]></dcterms:title>
    <dcterms:description><![CDATA[Explicates GP 1.673 (not 1.163, as in title), adding depth to the multiple, generally sexual innuendoes of the &quot;stif burdoun&quot; borne by the Summoner to accompany the Pardoner&#039;s song.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275763">
    <dcterms:title><![CDATA[Chaucer&#039;s General Prologue, A 497.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the denotative, connotative, figurative, and ironic implications of the GP description of the Wife of Bath as one who knows &quot;muchel of wandrynge by the weye&quot; (1.497).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275807">
    <dcterms:title><![CDATA[Chaucer&#039;s General Prologue, A 673: Further Evidence.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers examples from the &quot;Roman de la Rose&quot; and Deschamps&#039; &quot;Ballade&quot; that the word &quot;bourdan&quot; had the meaning &quot;phallus,&quot; showing that the sense would have been familiar to Chaucer when he used &quot;stif burdoun&quot; to describe the Summoner&#039;s singing with the Pardoner (GP 1.673).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275764">
    <dcterms:title><![CDATA[Chaucer&#039;s General Prologue, A 696-698.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies the reference to Christ catching Peter as he sailed in GP 1.696-98, focusing on the figurative meaning of &quot;hente&quot; and its implications regarding the Pardoner&#039;s faux relic, Peter&#039;s sail-cloth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265073">
    <dcterms:title><![CDATA[Chaucer&#039;s General Prologue: &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[As Meyer Schapiro has noted, the mousetrap, associated with the Prioress in GP 145, is used by Augustine as a symbol of the cross that entraps the devil with the bait of Christ&#039;s flesh.  The same allegory is found in Peter Lombard&#039;s &quot;Sentences.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265683">
    <dcterms:title><![CDATA[Chaucer&#039;s Genial Franklin]]></dcterms:title>
    <dcterms:description><![CDATA[In GP, Sq-FranL, and FranP, Chaucer characterizes the Franklin as obsessed &quot;with appearances and good feeling.&quot;  FranT manifests these obsessions and exposes the teller&#039;s &quot;superficial understanding of &#039;gentilesse&#039;.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272960">
    <dcterms:title><![CDATA[Chaucer&#039;s Gentils in their Age, [Parts1-3]]]></dcterms:title>
    <dcterms:description><![CDATA[Part 1 describes the Canterbury pilgrims that qualify as &quot;gentils&quot; by birth, education, or accomplishment (Knight, Prioress, Monk, Squire, Franklin, Merchant, Guildsmen, Sergeant of Law, Physician, Parson, and Nun&#039;s Priest), explaining details of their GP descriptions and commenting on their moral status. Part 2 summarizes changes in late-medieval English society that influenced the rising status of &quot;new men&quot; who augmented the traditional aristocracy in political affairs. Part 3 explores Chaucer&#039;s lack (relative to Gower and Froissart) of overt criticism of &quot;gentil&quot; pilgrims in light of contemporary events, Chaucer&#039;s life, and his social position.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275750">
    <dcterms:title><![CDATA[Chaucer&#039;s Gentry in the Historical Background.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers historical context for and commentary on the characterizations of the pilgrims in the CT who may be considered &quot;gentry,&quot; both those of traditional gentle birth and those on the rise as a class of new gentry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275129">
    <dcterms:title><![CDATA[Chaucer&#039;s Gifts: Exchange and Value in the &quot;Canterbury Tales.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;gift economy&quot; and commercial culture of CT, and applies gift theory and economic anthropology to medieval literary criticism. Examines &quot;gender of the gift,&quot; exchange of women, and gifts in GP. Chapter 6 focuses on the Franklin&#039;s gifts in FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277303">
    <dcterms:title><![CDATA[Chaucer&#039;s Gildsmen and Their Cook.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies satiric elements in the description of the Guildsmen in GP--stylistic jibes and social critique, including the association of them with the Cook, who is later identifiable as the historic Roger de Ware, of ill repute.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272911">
    <dcterms:title><![CDATA[Chaucer&#039;s Good Counsel to Scogan]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Scog as a playful, comic version of a &quot;moral ballade&quot; or &quot;balade of bon conseyl&quot; that shares similarities with French models, portions of TC, and several of Chaucer&#039;s other lyrics. Comments on the unity of the poem, its possible occasion or purpose, several cruces, and Henry Scogan as its addressee.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276679">
    <dcterms:title><![CDATA[Chaucer&#039;s Good Fair White: Woman and Symbol.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the sorrows of the Dreamer and of Alcyone with that of the Man in Black in BD, arguing that the first two serve to elevate the intensity of the latter. Then examines the epideitic praise of Blanche/White as a form of personification that achieves symbolic value. Reflecting the idealized connotations of whiteness, she represents beauty, goodness, and &quot;mesure,&quot; and her death, drawn from the tradition of troubadour courtly conventions, signals the passing of all worldly virtue.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273662">
    <dcterms:title><![CDATA[Chaucer&#039;s Good Woman.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the female protagonists of the legends in LGW and Chaucer&#039;s adaptations of his sources in these legends to sketch Chaucer&#039;s &quot;psychograph of the Good Woman,&quot; emphasizing rejection of authority and active pursuit of love and sex, &quot;a human being who is free and willing to choose between alternative courses of action.&quot;  In these respects and others, the women of LGW anticipate the Wife of Bath.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275349">
    <dcterms:title><![CDATA[Chaucer&#039;s Green &quot;Yeoman&quot; and &quot;Le Roman de Renart.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Branch I b of &quot;Le Roman de Renart&quot; provides &quot;a partial parallel or inspiratory background&quot; to the exchange in FrT between the summoner and the devil in disguise.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269916">
    <dcterms:title><![CDATA[Chaucer&#039;s Grisilde, Her Smock, and the Fashioning of a Character]]></dcterms:title>
    <dcterms:description><![CDATA[Carlson examines motifs of shame and covering in the two disrobing scenes in ClT, arguing that Griselda&#039;s request for a smock to cover herself before she leaves Walter indicates that she has &quot;shown a self that cannot be shamed by Walter, by poverty ,by her father.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275785">
    <dcterms:title><![CDATA[Chaucer&#039;s Guildsmen and Their Fraternity.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on previous scholarship that seeks to clarify the GP description of the Guildsmen (1.361-78) and describes the possible political, economic, and religious affiliations among individuals of such professions as Chaucer assigns to them. Shows that that they should be understood to belong to a &quot;parish fraternity&quot; (i.e., one having no specific craft affiliation), specifically &quot;The Guild of St. Fabian and St. Sebastian, St. Botolph&#039;s Church, Aldersgate.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262416">
    <dcterms:title><![CDATA[Chaucer&#039;s Handling of a Medieval Feminist Hierarchy]]></dcterms:title>
    <dcterms:description><![CDATA[Augustine and Jerome influenced the medieval Church&#039;s use of hierarchy to evaluate a woman&#039;s spiritual standing.  Chaucer, however, refuses to be bound by the limitations of theological stereotypes.  He shows that women often neither choose nor get what the stereotype predicts for them, especially with the widow Alison, Griselda, and the virgin Emelye.]]></dcterms:description>
</rdf:Description></rdf:RDF>