<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/267080">
    <dcterms:title><![CDATA[Chaucer&#039;s Hard Cases]]></dcterms:title>
    <dcterms:description><![CDATA[Reads KnT as an example of Chaucer&#039;s &quot;deliberative mode,&quot; whereby the reader is compelled to perceive or decide a choice. KnT deliberates whether conquest or consent is the proper source of monarchical dominion. Through pointed occupatio and the &quot;loudly unheard&quot; claims of Ypolita and Emelye, the Tale defends consent and critiques conquest.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270901">
    <dcterms:title><![CDATA[Chaucer&#039;s Haunted Aesthetics: Mimesis and Trauma in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Ingham uses Freud&#039;s meditations on Tasso&#039;s knight Tancred as a model for how literary texts mediate between the repetitive and the representational aspects of trauma. Chaucer&#039;s TC resonates with trauma in the work&#039;s historical context, in the abandonment of Criseyde by Calchas and the trafficking of women, and in its depiction of Pandarus&#039;s transfer of &quot;wo&quot; to Troilus. The allusions to Procne and Philomela in the poem problematize the voicing of trauma.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266462">
    <dcterms:title><![CDATA[Chaucer&#039;s Heliotropes and the Poetics of Metaphor]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses uses of solar metaphor in Chaucer by way of Ovid and Machaut, focusing on LGWP and NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264266">
    <dcterms:title><![CDATA[Chaucer&#039;s High Rise: Aldgate and the HF]]></dcterms:title>
    <dcterms:description><![CDATA[The decade of residence over Aldgate, the gateway to the teeming life of medieval London, supplied Chaucer with the buoyancy and liveliness that characterize HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274686">
    <dcterms:title><![CDATA[Chaucer&#039;s Historical Present: A Discourse-Pragmatic Perspective.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies the nature and functions of the historical present tense in English, and examines Chaucer&#039;s &quot;discourse pragmatic&quot; uses of it in KnT, particularly alternations of &quot;present and past tenses in discourse&quot; where the narrator &quot;dynamically synchronises the story with the here and now of the hearers with the aid of the present tense, while employing the past tense to signify a segment of discourse.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275366">
    <dcterms:title><![CDATA[Chaucer&#039;s Historical Present: Its Meaning and Uses.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;stylistic rationale&quot; for Chaucer&#039;s uses of the historical present tense, identifying the fundamental &quot;connotation of continuing action&quot; of the grammatical form, and assessing its rhetorical, semantic, and tonal effects in various Chaucerian contexts. Draws examples from throughout Chaucer&#039;s corpus, observing 1,345 uses of the verb tense and discussing in them groups.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273030">
    <dcterms:title><![CDATA[Chaucer&#039;s History-Effect]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how Chaucer uses &quot;ordinary structures of narrative inference to create the mirage of subjective depth&quot; in his development of characters in TC. Refers to Chaucer&#039;s unique &quot;experiment&quot; with characterization in TC as the &quot;subjectivity-effect.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272815">
    <dcterms:title><![CDATA[Chaucer&#039;s Horseman: Word-Play in the &#039;Tale of Sir Thopas&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the multiple puns on &quot;prick&quot; in Tho, denotative and connotative.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275406">
    <dcterms:title><![CDATA[Chaucer&#039;s Horses.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s stylistic virtuosity in his references to horses and riding, commenting on appropriateness, suggestive naming and coloring, metaphoric and imagistic implications, and comic effects. Includes comments on horses in TC, LGW, and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262678">
    <dcterms:title><![CDATA[Chaucer&#039;s Host]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the Host as the &quot;unifying feature of the whole pilgrimage fiction.&quot;  Chaucer&#039;s &quot;revisions&quot; of the character and function of the Host increase his &quot;realism&quot; and serve as a structural device.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263169">
    <dcterms:title><![CDATA[Chaucer&#039;s Host and Harry Bailly]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s characters are not psychologically consistent but (like the Host, or Pardoner) are illusions based on familiar voices and attitudes to engage the audience in moral concerns, as in MerT, PardT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276288">
    <dcterms:title><![CDATA[Chaucer&#039;s Host: The Character of Harry Bailly.]]></dcterms:title>
    <dcterms:description><![CDATA[Characterizes the Host as a &quot;delightful traveling companion,&quot; summarizing details of his GP description and of his interactions with the other pilgrims in the links between the tales. He is &quot;sometimes pompous, often impudent, and always forceful,&quot; a presence which &quot;provides unity and cohesion throughout&quot; the CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266847">
    <dcterms:title><![CDATA[Chaucer&#039;s Host: Up-So-Doun]]></dcterms:title>
    <dcterms:description><![CDATA[Allegorical reading of the CT Host as an image of Christ, a figure of the Eucharist associated with joy, heroism, and omnipotence. The Host is a guide of others and the only pilgrim not in need of penance. His name, his language, and his leadership reveal his identity with Christ. His wife, Goodelief, is a figure of the recalcitrant Church.]]></dcterms:description>
    <dcterms:description><![CDATA[Argues that Chaucer and his audience were accustomed to seeking &quot;hidden meaning&quot; and derives the fourteenth-century notion of Christ from various sources, including Corpus Christi plays, the liturgies of Corpus Christi and Lent, Cursor mundi, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262774">
    <dcterms:title><![CDATA[Chaucer&#039;s House of Cards: Modes of Authority in &#039;The House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Each of the three modes of authority--textual, experiential, visionary--complicated by the fictive dream-vision form, &quot;fails to be authoritative because each demonstrates the lack of finality and absoluteness presumed to be characteristic of authority.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267885">
    <dcterms:title><![CDATA[Chaucer&#039;s House of Fame 111-18 : A Windsor Joke?]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the pilgrimage of HF 116 was to the medieval hermitage of St. Leonard, two miles west of Windsor Castle; the associated weariness evokes the use of pilgrimages for amorous trysts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275000">
    <dcterms:title><![CDATA[Chaucer&#039;s House Revisited.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses how Chaucer&#039;s own familial relationships and home life are reflected in depictions of home and familial relationships in his works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265548">
    <dcterms:title><![CDATA[Chaucer&#039;s Humor: Critical Essays]]></dcterms:title>
    <dcterms:description><![CDATA[Nineteen essays by various hands, plus an introduction.  Nine of the pieces are previously published works or excerpts by Howard Patch, G. K. Chesterton, Paul G. Ruggiers, Thomas A. Garbaty, Derek Pearsall, Alfred David, Alan T. Gaylord, A. Booker Thro, and John M. Steadman. Jost introduces the volume with an interpretive description of Chaucer&#039;s humor and groups the essays as reception, theory, and genre studies; she also contributes a historical survey of responses to Chaucer&#039;s comedy. For nine new essays that pertain to Chaucer, search for Chaucer&#039;s Humor: Critical Essays under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274537">
    <dcterms:title><![CDATA[Chaucer&#039;s Icarus-Complex: Some Notes on His Adventures in Theology.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the &quot;quasi-heretical,&quot; &quot;so-called Augustinian&quot; views of sex in marriage as always sinful with those of Thomas Aquinas and others who treat sexual love in marriage as sinless when consistent with &quot;amicitia&quot; (friendship) and reason, arguing that the latter underlies Chaucer&#039;s view of sex in marriage in ParsT, analogous material in Peraldus&#039;s &quot;Summa Aurea de Virtutibus et de Vitiis,&quot; and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264663">
    <dcterms:title><![CDATA[Chaucer&#039;s Idea of &#039;Love&#039; and &#039;Goodness&#039; in &#039;The Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The stories about Hypsipyle, Medea, Lucrece, and Ariadne are treated.  In each case it seems that the poet finds feminine virtue in masculine vice.  Except for the case of Lucrece, simplicity and flippancy on the part of women are exempted from moral denunciation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264954">
    <dcterms:title><![CDATA[Chaucer&#039;s Idea of &#039;love&#039; and &#039;goodness&#039; in &#039;The Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s attitude toward love should be observed in the continuity of his works.  LGW, which comes in between TC and CT, plays an important part in this connection.  Here, human love is once again taken up to be praised with some controversial criteria.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264466">
    <dcterms:title><![CDATA[Chaucer&#039;s Idea of &#039;Love&#039; and &#039;Goodness&#039; in &#039;The Legend of Good Women&#039; (4)]]></dcterms:title>
    <dcterms:description><![CDATA[Some characteristics of the legend of Philomene, Phyllis, and Hypermnestra are discussed.  The brief conclusion proves that the poet&#039;s attitude toward LGW is ambivalent; he seems to be mocking, satirical, and at the same time serious and even religious.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261557">
    <dcterms:title><![CDATA[Chaucer&#039;s Idea of a Canterbury Game]]></dcterms:title>
    <dcterms:description><![CDATA[CT is a collection of narratives bound together in a frame with two central features: a pilgrimage and a game.  The pilgrimage is the outer frame, while the game is a second, inner framing device--the organizing principle that brings the stories into being.]]></dcterms:description>
    <dcterms:description><![CDATA[Fragment 1 is a storytelling sequence that parallels medieval commonplace notions of play and players.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264884">
    <dcterms:title><![CDATA[Chaucer&#039;s Idea of the Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[If the Pardoner is taken as a hermaphrodite, it is easier to approach the question of how he can explain his false practices and still expect his listeners to be taken in by them.  According to late medieval writers, the hermaphrodite&#039;s dual nature represented a duplicity, a doubleness of character.  The Pardoner&#039;s physical ambivalence is both counterpart and cause of his conduct.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274302">
    <dcterms:title><![CDATA[Chaucer&#039;s Idea of What Is Noble.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the history of the idea of nobility or gentility in European tradition, tracing the etymology of &quot;gentilesse&quot; and Chaucer&#039;s importance in the development of the concept in English, especially in KnT, FranT, and WBT.  Links Chaucer&#039;s uses to related concepts in &quot;Aristotle, the New Testament, Boethius, Ramon Lull, Guillaume de Lorris and Dante.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264826">
    <dcterms:title><![CDATA[Chaucer&#039;s Imagery]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s figurative language is mostly traditional, but its effect usually transcends the merely visual:  it is emotional and intellectual--aiming at more than concrete realism.  Often, however, the nature of this imagery eludes us because Chaucer&#039;s world is so different from ours.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted from the first (1968) edition, with updated bibliography.]]></dcterms:description>
</rdf:Description></rdf:RDF>