<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/268230">
    <dcterms:title><![CDATA[Chaucer&#039;s Moot / Moste: A Case Study of Grammaticalization and Subjectification]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s &quot;moot&quot; / &quot;moste&quot; from a cognitive-linguistic point of view.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261428">
    <dcterms:title><![CDATA[Chaucer&#039;s Most &#039;Gowerian&#039; Tale]]></dcterms:title>
    <dcterms:description><![CDATA[With its focus on sin, ParsT is the most Gowerian and least Chaucerian of the CT, even though Gower&#039;s presentation of sin is expository and Chaucer&#039;s indirect.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262840">
    <dcterms:title><![CDATA[Chaucer&#039;s MS and Boccaccio&#039;s Commentaries on &#039;Il Teseida&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Coleman argues from evidence in KnT, HF, and Rom that Chaucer probably did not have Boccaccio&#039;s commentary on &quot;Il Teseida.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261461">
    <dcterms:title><![CDATA[Chaucer&#039;s Much Loved Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[In contrast to the strong heroines in French romances, Criseyde is a weak, passive individual who does not act but is acted upon.  Chaucer creates her this way deliberately to make her &quot;magically attractive&quot;--she is &quot;lovely undefined responsiveness,&quot; which is irresistible to all men.  Thus, she is a &quot;flawed ideal&quot; and under difficult circumstances will fall.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266756">
    <dcterms:title><![CDATA[Chaucer&#039;s Multi-Word Verbs: An Historical Introduction and Illustrative Sample]]></dcterms:title>
    <dcterms:description><![CDATA[Historical assessment of Chaucer&#039;s multi-word (or phrasal) verbs, assessing the syntax and semantics of such verbs, the drift to post-positioning of the particles in these verbs (e.g., &quot;wente forth&quot; rather than &quot;forth wente&quot;), and the effects of meter on the use of the verbs.]]></dcterms:description>
    <dcterms:description><![CDATA[Includes as an appendix an exhaustive list of Chaucer&#039;s multi-word verbs containing the particles, &quot;about,&quot; &quot;away,&quot; &quot;out,&quot; &quot;Down,&quot; and &quot;up.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270853">
    <dcterms:title><![CDATA[Chaucer&#039;s Multiple Ways of Thinking: With Special Reference to Proverbial Expressions]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s proverbial wisdom in Mel. In Japanese]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263133">
    <dcterms:title><![CDATA[Chaucer&#039;s Muses and His &#039;Art Poetical&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Studies Chaucer&#039;s sources, invocations to, and use of the muses in Anel, HF, TC, and CT.  The use in CT is humorous.  In HF, the muses are a &quot;metaphorical model&quot; for the &quot;art poetical.&quot;  In TC, muses chart the changing attitudes of the narrator.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272711">
    <dcterms:title><![CDATA[Chaucer&#039;s Music of Love]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies a &quot;consistent pattern&quot; in Chaucer&#039;s works of comparing &quot;the songs and melodies of lovers to sacred and philosophical medieval musics,&quot; religious and astronomical. Examines concord and discord in musical references in KnT, PF, ManT, TC, MerT, RvT, and MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269145">
    <dcterms:title><![CDATA[Chaucer&#039;s Mutability in Spenser&#039;s Mutabilitie Cantos]]></dcterms:title>
    <dcterms:description><![CDATA[Steinberg examines differences between depictions of Nature in Spenser&#039;s Mutabilitie Cantos and in Chaucer&#039;s PF. For Spenser, disorder inheres in nature, while in Chaucer it results from human &quot;pettiness and passion.&quot; Such differences remind us of changes between the fourteenth and sixteenth centuries, despite Spenser&#039;s insistence that he follows the work of his predecessor.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266717">
    <dcterms:title><![CDATA[Chaucer&#039;s Mutability Topos: The &#039;Troilus&#039; and Boethius]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the importance of Troilus&#039;s apotheosis, emphasizing Chaucer&#039;s debt to Boethius and considering the poet&#039;s uses of juxtaposition and his fusion of classical and medieval ideas.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267087">
    <dcterms:title><![CDATA[Chaucer&#039;s Mystery : Cycle Plays and Unity in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Corpus Christi plays are &quot;analogues for the construction of time and space&quot; in CT. In the plays and in the poem, time and space are both physical and metaphysical, unifying characters and audience in the &quot;single teleology&quot; of movement toward repentance. Reinheimer surveys Chaucer&#039;s allusions to the plays and argues that the familiarity of Chaucer&#039;s audience with the road to Canterbury helped create for the audience a double sense of time and space in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276217">
    <dcterms:title><![CDATA[Chaucer&#039;s Mythic Men in the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer reformulates &quot;mythocultural memory&quot; in LGW when he depicts traditional male heroes as &quot;diminished men,&quot; neither valorous nor gentle. By deconstructing the &quot;structurally adamant images of the Greco-Roman male,&quot; the poet escapes authority, a focal concern of LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277553">
    <dcterms:title><![CDATA[Chaucer&#039;s Mythology of the Daisy and the Remigian .]]></dcterms:title>
    <dcterms:description><![CDATA[Centers on LGW, 212-18, where Alceste, the Queen of Love, has an appearance similar to a daisy, and suggests that a source for this could be Remigius of Auxerre&#039;s &quot;Commentum in Martianum Capellam.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275127">
    <dcterms:title><![CDATA[Chaucer&#039;s Name in Chinese.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines translations of Chaucer&#039;s name in light of Chinese traditions, specifically with regard to a family&#039;s values and wishes revealed through name choice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265589">
    <dcterms:title><![CDATA[Chaucer&#039;s Names]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s use of the name Geffrey in his poetry contains a humorous and self-reflexive impact, although reference to his ancestral name Malyn does not.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273788">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrative Art in &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s rhetoric and style in CT, exploring his orchestration of narrative economy, climax, pace (especially in relation to rhyme and meter), and verisimilitude, Identifies &quot;flaws&quot; in SumT and PhyT, and admires the symbolic characterizations of KnT, MilT as farce, MerT as arch irony, and ManT as a critique of court. Also comments on Chaucer&#039;s extensive use the &quot;Possessive Demonstrative&quot; (e.g., &quot;this Palamon&quot;) as a device for engaging his audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266158">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrative Game]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the backgrounds and narrative structures of Chaucer&#039;s comic tales.  Chaucer&#039;s fabliaux are less serious than are their sources and analogues, although some of the resemblances are disturbing. In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273745">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrative Pose: The Formative Phase.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies Chaucer&#039;s narrative personae in BD and PF, identifying several traits that become &quot;regular marks&quot; of his later self-characterizations: a bookish reteller who interjects personal comments, &quot;comic self-depreciation,&quot; and ambiguous &quot;fascination&quot; with love but without personal involvement.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265893">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrative Typology on the &#039;General Prologue&#039; to the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the rhetorical shift between the third-person presentational voice of the first eighteen lines of GP and the following first-person voice of the involved narrator. The passage exploits a new paradigm of narration and validates the theories of Saussure and Genette. In Japanese, with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265902">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrative Voice in &quot;The Knight&#039;s Tale&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Emphasizes the stylistic and rhetorical innovation of Chaucer&#039;s narrative voice, arguing that it can be perceived behind his various narrators and implied authors.]]></dcterms:description>
    <dcterms:description><![CDATA[  Comparing and contrasting the voice of KnT with that of Chaucer&#039;s other works and those of contemporary romances, Klitgard examines how Chaucer achieves a paradoxical distance from and closeness to his material in KnT and leaves the poem without thematic resolution.]]></dcterms:description>
    <dcterms:description><![CDATA[  Chaucer&#039;s voice can be perceived despite the various and shifting registers and narrative postures of KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266733">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrative Voice in the &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer writes in a &quot;highly literate cultural code of poetry,&quot; which reveals the evolving persona of the poet.  It is possible that he read HF aloud in installments and that the original ending--reflecting, no doubt, some crisis at court--was subsequently lost.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263814">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrator and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[The narrator makes the reader see Criseyde from Troilus&#039;s point of view.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263143">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrator: &#039;Troilus and Criseyde&#039; and the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Chaucerian narrator &quot;directs our responses and controls the narrative situation&quot; but does not give definite answers. The narrators of BD, HF, PF, and LGW are not necessarily representative of Chaucer himself.  The ever-present narrator of TC forces the audience to participate empathetically and creatively.  The narrators of CT never let us forget that they are storytellers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263140">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrators]]></dcterms:title>
    <dcterms:description><![CDATA[Aware of the insights into author-audience relationship provided for &quot;written&quot; texts by structuralism and poststructuralism, Lawton concentrates on oral aspects in Chaucer.  Emphasizing the complexity of tone in interacting voices, Lawton studies PardP, PardT, SqT, PF, LGW, BD, TC, and CT. ]]></dcterms:description>
    <dcterms:description><![CDATA[He challenges dramatic and psychological interpretations that see tales as extensions of the GP portraits and examines Chaucer&#039;s sources and influences (especially &quot;Roman de la Rose&quot;) for models for his tonal plurality.  Traces developments in the narrator&#039;s voice from dream visions to CT.  In BD, the dreamer rather than the Black Knight undergoes psychological change.  Studies the critical reception of SqT; rejects the TC narrator as a character in the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268918">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrators and Audiences : Self-Deprecating Discourse in Book of the Duchess and House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer constructed a self-deprecating narrator in BD and in HF in response to audience expectations. These constructions, in turn, shaped how people in Chaucer&#039;s own society regarded Chaucer and how his personality has been recorded historically.]]></dcterms:description>
</rdf:Description></rdf:RDF>