<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/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/277717">
    <dcterms:title><![CDATA[Chaucer&#039;s Great Britain.]]></dcterms:title>
    <dcterms:description><![CDATA[Alphabetical gazetteer of &quot;names in Great Britain. mainly England&quot; found in Chaucer&#039;s works. Entries include modern equivalents, Chaucerian forms, and explanations of references and allusions in his works to sites and locales. ]]></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: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:RDF>