<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/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:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273240">
    <dcterms:title><![CDATA[Chaucer&#039;s Imagery]]></dcterms:title>
    <dcterms:description><![CDATA[Studies Chaucer&#039;s similes and metaphors to trace the &quot;development of imagery in each of [his] works&quot; from BD through CT, suggesting that Chaucer shows a &quot;progressive awareness of the image as an essential tool of his art.&quot; Results of statistical analysis of the density of his images coincides with traditional dating of his poems, and his imagery becomes more important to his characterizations over time.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267345">
    <dcterms:title><![CDATA[Chaucer&#039;s Imaginable Audience and the Oaths of The Shipman&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the six oaths by saints--Martyn, Denys, Peter, Yves, Austyn, and Jame--in ShT, arguing that familiarity with details of the saints&#039; lives provokes the audience to condemn the characters in the Tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272429">
    <dcterms:title><![CDATA[Chaucer&#039;s Imaginative and Metaphorical Description of Nature]]></dcterms:title>
    <dcterms:description><![CDATA[Illustrates how the descriptions of nature in TC reflect main characters&#039; cognitive processes as well as the development of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263975">
    <dcterms:title><![CDATA[Chaucer&#039;s Imaginative One-Day Flood]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the apocalyptic tradition behind Nicholas&#039;s flood.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264054">
    <dcterms:title><![CDATA[Chaucer&#039;s Imitation and Innovation in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[By comparing Chaucer&#039;s TC with Boccaccio&#039;s &quot;Filostrato&quot; in sounds, grammar, word choice, similes and metaphors, ambiguities, and construction, the article investigates Chaucer&#039;s literary and linguistic imitation and humorous innovation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265726">
    <dcterms:title><![CDATA[Chaucer&#039;s In-laws: Who Was Who in the Wars of the Roses]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s involvement with the royal family and shows how one of his descendents became heir to the throne in 1484. ]]></dcterms:description>
    <dcterms:description><![CDATA[Table of succession from Edward I to Henry VIII includes families of De Bohun, Holland, Mortimer, Beaufort, Tudor, Neville, De la Pole, and Chaucer.]]></dcterms:description>
    <dcterms:description><![CDATA[Includes genealogical table.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264523">
    <dcterms:title><![CDATA[Chaucer&#039;s Influence]]></dcterms:title>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269147">
    <dcterms:title><![CDATA[Chaucer&#039;s Influence and Reception]]></dcterms:title>
    <dcterms:description><![CDATA[Trigg considers recurrent issues in the reception of Chaucer: responses to his self-shaped &quot;poetic signature,&quot; admiration for his rhetoric and sentiment, and mourning for the loss of his genius by poets who seek to emulate him. Surveys rewritings and adaptations of TC and CT and raises questions about the reciprocity of canon formation and the institutions that produce such canons.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263373">
    <dcterms:title><![CDATA[Chaucer&#039;s Influence on Barth&#039;s &#039;The Sot-Weed Factor&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Harry Russecks, miller of Church Creek, Md., is based on the miller of RvT.  Barth&#039;s spirit of ribaldry is influenced by MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272818">
    <dcterms:title><![CDATA[Chaucer&#039;s Influence on Henryson&#039;s &#039;Fables&#039;: The Use of Proverbs and Sententiae]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies three aspects of Robert Henryson&#039;s uses of proverbial wisdom in his &quot;Fables,&quot; locating precedent for each of them in a work by Chaucer:  use of proverbs by fable characters (NPT), comic misapplication of proverbial wisdom (MilT), and clustering proverbial sayings (Pandarus in TC).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272618">
    <dcterms:title><![CDATA[Chaucer&#039;s Influence on the Prose &#039;Sege of Troy&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that the characterization of Calchas in TC influenced the fifteenth-century &quot;Sege of Troy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261435">
    <dcterms:title><![CDATA[Chaucer&#039;s Innovation]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the relationship of the real world to the dream world in BD and surveys noncourtly innovations derived from French romances, taking account of Chaucer scholarship of the late twentieth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272980">
    <dcterms:title><![CDATA[Chaucer&#039;s Insatiable Wives: Women Eating Men and the Romantic Turn in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores metaphors of eating, drinking, hunting, and food preparation, within the framework of the &quot;storytelling performances&quot; of the Wife of Bath in WBT and the unnamed Wife in ShT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265333">
    <dcterms:title><![CDATA[Chaucer&#039;s Intentionalist Realism and the &#039;Friar&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although Chaucer has been seen as a medieval nominalist or realist, or both at once, he should actually be recognized as an &quot;intentional realist&quot; in the modern (John F. Searle) sense.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274578">
    <dcterms:title><![CDATA[Chaucer&#039;s International Presence.]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that Chaucer&#039;s &quot;international presence,&quot; due to his European travels connected to his position and service within the court, &quot;instilled in him a European sensibility distinctly at odds with his modern image as the avatar of Englishness.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267338">
    <dcterms:title><![CDATA[Chaucer&#039;s Inversion of Augustinian Rhetoric in the Pardoner&#039;s Prologue and Tale]]></dcterms:title>
    <dcterms:description><![CDATA[In PardPT, Chaucer inverts three major precepts of Augustinian sermon rhetoric (&quot;De Doctrina Christiana&quot;): the preacher must pray before preaching, the preacher must maintain a grave and appropriate demeanor, and the preacher must maintain Christian instruction as his goal. Breaking each of these, the Pardoner is an inversion of the ideal Augustinian preacher.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267915">
    <dcterms:title><![CDATA[Chaucer&#039;s Italian Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Developing Walter Benjamin&#039;s model of translation and seeking to &quot;rethink the dynamics of cross-cultural translation,&quot; Ginsberg explores how Chaucer&#039;s borrowings from and dependencies on Italian literature &quot;disarticulate&quot; the legacy of Dante, Boccaccio, and Petrarch. Chaucer negotiated much larger political and cultural differences in his translations of Italian than in his translations of French. Rather than simply following Italian tradition, he created his own Italian tradition, in which translation is hermeneutic and transformative and in which allegory and irony are interdependent. Ginsberg assesses the interactions among the Florentine poets (and Dante&#039;s use of Ovid), discussing how Chaucer reinterprets them in ManPT, MkT, ClT, and TC.]]></dcterms:description>
</rdf:Description></rdf:RDF>