<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/271815">
    <dcterms:title><![CDATA[Chaucer&#039;s Knight&#039;s Tale: The Book of the Duke]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the characterization of Theseus in KnT, comparing it with that of Boccaccio&#039;s Teseo and arguing that Chaucer depicts an ideal of moral worth, aristocratic justice, knightly virtue, and nobility of conquest.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268971">
    <dcterms:title><![CDATA[Chaucer&#039;s Knight&#039;s Tale: Were Arcite and Emelye Really Married? Why It Matters]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Palamon and Arcite in KnT are very carefully balanced, &quot;even equivalent&quot; as warriors, lovers, and husbands to Emelye. Explains aspects of the symmetry by means of fin amor, or courtly love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268696">
    <dcterms:title><![CDATA[Chaucer&#039;s Knowledge of Chess]]></dcterms:title>
    <dcterms:description><![CDATA[The chess metaphor in BD shows that Chaucer&#039;s knowledge of the game, while not extraordinary, was adequate for his purpose. His knowledge could have come from being an actual player, from studying medieval chess puzzles, from knowledge of the &quot;didactic uses of chess in literature,&quot; or from chess metaphors. Chaucer&#039;s use of the motif serves to express the depth of the Black Knight&#039;s love for his wife.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264183">
    <dcterms:title><![CDATA[Chaucer&#039;s Labyrinth: Fourteenth-Century Literature and Language]]></dcterms:title>
    <dcterms:description><![CDATA[In HF, concerned with the nature of poetry, Chaucer reflects fourteenth-century culture, reveals his debts to Dante and Boccaccio (Lollius), and deals with literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265236">
    <dcterms:title><![CDATA[Chaucer&#039;s Landscape as &#039;Topos&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s use of spatial commonplaces to describe landscapes reflects the symbolic nature of the medieval universe and lends philosophical depth to his stories.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271198">
    <dcterms:title><![CDATA[Chaucer&#039;s Landscapes and Other Essays: A Selection of Essays, Speeches, and Reviews Written Between 1951 and 2008, with a Memoir]]></dcterms:title>
    <dcterms:description><![CDATA[An anthology of reprinted publications, addresses, and a memoir by R.W.V. Elliott, with topics including Chaucer, the &quot;Gawain&quot;-poet, runes, Thomas Hardy, and more. Two of the three pieces that pertain to Chaucer were published previously, and one is printed here for the first time: &quot;Chaucer: The Canterbury Tales--Printed by William Caxton, 1477&quot; (pp. 287-92), an address to the National Library of Australia in 2002 which describes CT and Caxton&#039;s decision to print it twice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261219">
    <dcterms:title><![CDATA[Chaucer&#039;s Landscapes: Language and Style]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the various landscape features in Chaucer&#039;s works with the walled garden of the Roman de la Rose.  The merit of Chaucer&#039;s landscapes is that the poet tailored them to be part of an intimate, homey world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275496">
    <dcterms:title><![CDATA[Chaucer&#039;s Langland&#039;s Boethius.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies various ways Boethius&#039;s &quot;Consolation of Philosophy&quot; influenced Langland&#039;s &quot;Piers Plowman&quot; formally and thematically, and suggests in conclusion that, unlike other late medieval English writers, Langland and Chaucer &quot;are interested in subjecting the wisdom of the &#039;Consolation&#039; to the pressures of the world as it can be represented in fiction.&quot; Also suggests that Langland&#039;s work may have been the &quot;catalyst&quot; of Chaucer in this regard.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269445">
    <dcterms:title><![CDATA[Chaucer&#039;s Language]]></dcterms:title>
    <dcterms:description><![CDATA[Discursive description of Middle English, focusing on Chaucer&#039;s dialect and usage, divided into eight chapters: (1) Why Study Chaucer&#039;s Language?; (2) Writing in English; (3) What Was Middle English?; (4) Spelling and Pronunciation; (5) Vocabulary; (6) Grammar (includes parts of speech and syntax); (7) Language and Style (includes prose style); and (8) Discourse and Pragmatics (includes forms of address, politeness, swearing, discourse markers, and styles of speech). Each section offers recommendations for further reading. The volume includes an appendix of sample texts, a glossary of linguistic terms, a bibliography, and a brief index.]]></dcterms:description>
    <dcterms:description><![CDATA[Revised second edition published in 2013 (xii, 221 pp.).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269451">
    <dcterms:title><![CDATA[Chaucer&#039;s Language]]></dcterms:title>
    <dcterms:description><![CDATA[After briefly placing Chaucer&#039;s language in the history of the development of English, Peters describes Chaucer&#039;s vocabulary, phonology, morphology, and syntax. The study is presented as a &quot;one-text description of Chaucer&#039;s language for the student of Chaucer&#039;s literature.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264284">
    <dcterms:title><![CDATA[Chaucer&#039;s Language and the Philosophers&#039; Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[The medieval tyrant &quot;topos,&quot; with its lexicon and its various transformations, provides the means of studying Chaucer&#039;s moral vocabulary.  The tyrant figure embodies passion, cruelty, injustice, and the heartlessness.  Its antitype is first that of the rationally guided moral philosopher (Seneca)--who exercises prudence and temperance. ]]></dcterms:description>
    <dcterms:description><![CDATA[In this tradition Chaucer shows a rationalistic distaste for love (passion), with his moral position becoming most clear in Mel and ParsT.  Criseyde and the Wife of Bath are tyrantlike in their behavior; Theseus and Griselda, along with Cecilia and Prudence, are antitypes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276059">
    <dcterms:title><![CDATA[Chaucer&#039;s Language and Works.]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces elements of the English language that are particularly useful for teaching English, following the ordinary division of the language&#039;s development into five stages: Old English, Middle English, early modern English, late modern English, and present-day English. Focuses on Chaucer&#039;s language as representative of Middle English and discusses word forms, vocabulary, syntax, and regional dialects. In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271862">
    <dcterms:title><![CDATA[Chaucer&#039;s Language Lessons]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the varying degrees and uses of multilingualism among the Canterbury pilgrims and the characters in their tales, commenting on the facile &quot;linguistic posing&quot; of several speakers (Pardoner, Parson, Wife of Bath, Summoner and his characters) and exploring in depth the link between &quot;mercantile pragmatism and foreign language use&quot; in MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272058">
    <dcterms:title><![CDATA[Chaucer&#039;s Language of Inevitability]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplifies how Chaucer &quot;frequently presents his characters as victims of a necessity that become meaningful not through its external operation as &#039;fortune,&#039; but through its inner presence as an experience of &#039;emotional necessity&#039;,&quot; illustrating this theme of the experience of fate in BD, KnT, and MerT. This focus on the relation of fate to personality foreshadows Renaissance sensibility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272423">
    <dcterms:title><![CDATA[Chaucer&#039;s Language: Cognitive Perspectives. Studies in the History of the English Language]]></dcterms:title>
    <dcterms:description><![CDATA[For six articles that pertain to aspects of Chaucer&#039;s language, search for Chaucer&#039;s Language: Cognitive Perspectives under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268056">
    <dcterms:title><![CDATA[Chaucer&#039;s Language: On What Is Possible in Stylistic Analysis]]></dcterms:title>
    <dcterms:description><![CDATA[Hoad challenges critical discussions of specific words and syntactical emphases in Chaucer on the grounds that modern linguistic intuition is unreliable, comparison of medieval uses is often flawed, and medieval commentary can be misleading. Considers claims about emphasis deriving from word order and about connotations of &quot;stalketh,&quot; &quot;hende,&quot; &quot;derne love,&quot; &quot;lemman,&quot; &quot;boystous,&quot; and other words.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274583">
    <dcterms:title><![CDATA[Chaucer&#039;s Language.]]></dcterms:title>
    <dcterms:description><![CDATA[Outlines the basics of Middle English orthography and pronunciation, and Chaucer&#039;s vocabulary and literary models for students. Claims that learning to read Middle English, and understanding concepts of manuscript study, editing, and translation, enhance understanding of critical conversations about Chaucer. Focuses on analyzing Ros and the Clerk&#039;s portrait in GP to provide strategies for reading difficult passages, including examining syntactical patterns and reading aloud, and to reveal that Chaucer&#039;s iambics can convey a variety of emotions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263294">
    <dcterms:title><![CDATA[Chaucer&#039;s Last Dream Vision: The &#039;Prologue&#039; to the &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[LGWP may be viewed as the poet&#039;s last of four experiments in the dream-vision form and as a self-contained dream poem rather than a simple prologue.  Chaucer affirms the visionary&#039;s initial views and attitudes but mocks the authority of its central allegorical figure, thus signaling his abandonment of the older Boethian style of vision and pointing the way to a new sort of poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272216">
    <dcterms:title><![CDATA[Chaucer&#039;s Last Revision of the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that parts 1-5 of CT represent a &quot;wholesale revision that Chaucer was engaged in at the time of his death,&quot; while parts 6-10 &quot;represent an earlier stage of composition.&quot; Suggests that Chaucer &quot;introduced dramatic interplay between narrator, tale, and audience&quot; while composing part 7 and discusses where this principle is evident through revision in parts 1 and 3-5 (Marriage Group). Comments on the links between Th, Mel, MkT, and NPT and on the possibility that the &quot;final descriptions&quot; of GP were added as part of this revision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269454">
    <dcterms:title><![CDATA[Chaucer&#039;s Latinity]]></dcterms:title>
    <dcterms:description><![CDATA[Scrutinizes Chaucer&#039;s use of Latin, demonstrating that his intratextual and extratextual Latin terms, phrases, and sentences are &quot;formulas&quot; and &quot;quotations,&quot; not his own inventions. Twomey briefly surveys the development of Anglo-Latin and its pronunciation in relation to English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264699">
    <dcterms:title><![CDATA[Chaucer&#039;s laughter]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer as a court poet adapts himself to the pattern of sentiments of the court audience.  He views the bourgeois pragmatism from the aristocratic standpoint.  However, in his fabliaux he could deliberately make fun of the attitude of the aristocrats.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269570">
    <dcterms:title><![CDATA[Chaucer&#039;s Lawyers and Priests]]></dcterms:title>
    <dcterms:description><![CDATA[Audio recording (on CD) of a lecture about the &quot;inextricability&quot; of religious and secular law in Chaucer&#039;s age as reflected in PardT, ParsT, and especially MLT. Heinzelman contrasts material and spiritual wealth in PardT and ParsT and explores the possibility that human law and divine law are synonymous in MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267258">
    <dcterms:title><![CDATA[Chaucer&#039;s Legend of Good Women, Ladies at Court and the Female Reader]]></dcterms:title>
    <dcterms:description><![CDATA[Manuscript evidence shows that fifteenth-century female readers of LGW were urban and either household servants or daughters of the gentry, whereas the implied female audience of fourteenth-century manuscripts consisted of members of the nobility, specifically the Garter sorority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268484">
    <dcterms:title><![CDATA[Chaucer&#039;s Legend of Good Women: The Narrator&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Palmer argues that LGW is not merely a collection of tales retold from Ovid; it is also the story of the narrator&#039;s problematic relationship to the God of Love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266724">
    <dcterms:title><![CDATA[Chaucer&#039;s Legendary Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s LGW testifies to the disparate views of women prevalent in the Middle Ages.  A complex medieval notion of Woman informs the structure of the poem:  in the prologue, Chaucer praises conventional ideas of female virtue, while in the legends he shows a humorous skepticism, apparently influenced by contemporary antifeminist traditions.]]></dcterms:description>
    <dcterms:description><![CDATA[The debate Chaucer promotes could be relied on to entertain many medieval readers, while at the same time demonstrating how the vernacular translator-poet could handle language wittily and play with authorative texts.]]></dcterms:description>
    <dcterms:description><![CDATA[A close reading of the poem in light of literary, historical political, and social texts.]]></dcterms:description>
</rdf:Description></rdf:RDF>