<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/272848">
    <dcterms:title><![CDATA[Chaucer&#039;s Orchestration of the &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that R. K. Root&#039;s groupings of manuscript variants in TC (alpha, beta, and gamma) evince Chaucer&#039;s developments in his characterizations of Pandarus, Troilus, and, especially, Criseyde; the characterizations also help to balance tragedy and comedy in the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275644">
    <dcterms:title><![CDATA[Chaucer&#039;s Osewold the Reeve and St Oswald the Bishop (from the &quot;South English Legendary&quot; and Other Sources).]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that the beating in RvT alludes to an incident in the life of St. Oswald the Bishop, arguing that the allusion enhances the Reeve&#039;s attack on the Miller and creates a sense of irony, as the Reeve suffers in comparison with his priestly namesake.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275469">
    <dcterms:title><![CDATA[Chaucer&#039;s Other &quot;Wyf&quot;: Philippa Chaucer, the Critics, and the English Canon.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys critical and historical treatments of Philippa Chaucer, showing both the ahistorical nature of much of this work and the common, negative approach in her characterization. Emphasizes that gender plays a significant role in how these judgments produce community between the male critics and Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271089">
    <dcterms:title><![CDATA[Chaucer&#039;s Other Works in Modern English Prose]]></dcterms:title>
    <dcterms:description><![CDATA[Translations into modern English prose of BD, HF, Anel, PF, Bo, TC, LGW, the &quot;Shorter Poems,&quot; and Rom.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265460">
    <dcterms:title><![CDATA[Chaucer&#039;s Ovidian Arts of Love]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s uses of Ovid, assessing the former&#039;s perception of the ancient poet, tracing Ovidian reception in the Middle Ages, and exploring Chaucer&#039;s reflection of Ovid&#039;s stuggles with life and art.]]></dcterms:description>
    <dcterms:description><![CDATA[TC and WBPT display Chaucer&#039;s &quot;evolving treatment&quot; of the Ovidian art of love--from the &quot;skepticism&quot; shown by Pandarus and Criseyde to the &quot;celebration&quot; shown by the Wife.  Chapter 5 considers the relation between Chaucer&#039;s &quot;Ovidianism&quot; and his conception of himself as a poet, especially as reflected in ParsT and Ret.  Unlike the permanently exiled Ovid, Chaucer found a spiritual escape from gaming.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265966">
    <dcterms:title><![CDATA[Chaucer&#039;s Palimpsest: Judas Iscariot and &#039;The Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Certain details of PardT, a story of &quot;brotherhood and betrayal,&quot; suggest old stories of Judas Iscariot, the consummate betrayer.]]></dcterms:description>
    <dcterms:description><![CDATA[The theme of avarice, the inability to die, the oak tree, the treasure up the &quot;croked wey,&quot; and the &quot;last supper&quot; all have parallels in art, architecture, and apocryphal texts concerning Judas.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263604">
    <dcterms:title><![CDATA[Chaucer&#039;s Pandarus and Jean Brasdefer&#039;s &#039;Houdee&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In Brasdefer&#039;s &quot;Pamphile et Galatee&quot; appears Houdee, a professional go-between.  Possibly Chaucer used Houdee as a basis for his Pandarus in TC, thus providing the earthy undercurrent beneath the Boccaccio source.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272750">
    <dcterms:title><![CDATA[Chaucer&#039;s Pandarus and the Medieval Ideal of Friendship]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys medieval ideals of friendship and their classical and biblical roots, arguing that Chaucer presents a double view in his presentation of Pandarus&#039;s friendship for Troilus: &quot;both the world&#039;s notion of what a friend is and the moralist&#039;s notion of what a friend is not.&quot; Discusses Chaucer&#039;s adjustments to Boccaccio&#039;s depiction of the friendship, and suggests that his double view results from the doubleness of Chaucer&#039;s narrative perspective.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267979">
    <dcterms:title><![CDATA[Chaucer&#039;s Pandarus and the Sententious Friar Lawrence]]></dcterms:title>
    <dcterms:description><![CDATA[Friar Lawrence of Shakespeare&#039;s Romeo and Juliet echoes Pandarus of TC. As rhetors, both are fond of apothegms; dramatically, each acts as a go-between; thematically, each reflects how truth escapes human efforts to capture it in fiction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265132">
    <dcterms:title><![CDATA[Chaucer&#039;s Pandarus as an Earthly Maker]]></dcterms:title>
    <dcterms:description><![CDATA[Pandarus is a persuader, not a philosopher; so he sees before him not existential problems so much as materials to be shaped to a happy resolution.  An earthly maker, at points an imitation of the Divine Creator, he tries but fails to achieve a human pattern which can master time.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263307">
    <dcterms:title><![CDATA[Chaucer&#039;s Pandarus: &#039;Jolly Good Fellow&#039; or &#039;Reverend Vice&#039;?]]></dcterms:title>
    <dcterms:description><![CDATA[Deals with poetic structure and morality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274456">
    <dcterms:title><![CDATA[Chaucer&#039;s Pandarus: Patterns of Persuasion.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the rhetoric of Pandarus&#039;s speeches in TC, exploring how they align with Chaucer&#039;s changes to Boccaccio&#039;s Pandaro and how they reflect the emphases and concerns of medieval rhetoricians. Explores the different techniques of persuasion Pandarus uses on Troilus and on Criseyde, and how Pandarus&#039;s defective rhetoric mirrors his defective philosophy, helping to unify the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271939">
    <dcterms:title><![CDATA[Chaucer&#039;s Parabolic Narrative: The Prologue to the &#039;Tale of Melibee,&#039; Lines 953-58]]></dcterms:title>
    <dcterms:description><![CDATA[The semantic range of &quot;proverbs,&quot; and Chaucer&#039;s emphasis on the word, indicates that Mel is a series of parables, or allegorical narratives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264032">
    <dcterms:title><![CDATA[Chaucer&#039;s Parallelism in &#039;The Parson&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Rhetorical style of ParsT emphasizes parallelisms, paired words, and tautologies for powerful effect.]]></dcterms:description>
    <dcterms:description><![CDATA[In English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276591">
    <dcterms:title><![CDATA[Chaucer&#039;s Paraprosdokian Rhetoric and the Reading of the &quot;Prioress&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the GP description of the Prioress as an ironic frame for PrT, concluding that they combine as an &quot;exercise in depicting and ridiculing popular anti-Semitism rather than condoning it.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265066">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272808">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner Again]]></dcterms:title>
    <dcterms:description><![CDATA[Gauges the Pardoner&#039;s attitude toward his Canterbury audience, including the Host. In PardP, he reveals how he usually treats his audiences, then insults the pilgrims by leveling differences in PardT. Like Faus Semblant of the &quot;Roman de la Rose,&quot; the Pardoner is a hypocrite, but his techniques effectively capture the pilgrims and the reading audience in moral ironies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267343">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner and Gender Theory : Bodies of Discourse]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the Pardoner as an example of the &quot;fixities and fluidities of fourteenth-century discourses about gender.&quot; Potentially subversive, the Pardoner is also a patriarchal figure and &quot;anxious to assume the signs of a phallic and authoritative masculinity.&quot; Chaucer&#039;s presentation of these conflicts is similar to much discourse about the Rising of 1381. Sturges establishes three kinds of discourse latent in the Pardoner material: the sexed body, gender construction, and erotic practice. Although the three were not separated in Chaucer&#039;s time, and though they are not continuous in the Pardoner&#039;s material, they make possible a &quot;chain of associations&quot; through which a &quot;cultural Imaginary&quot; can be identified.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272733">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner and Haze Motes of Georgia]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Haze Motes of Flannery O&#039;Connor&#039;s &quot;Wise Blood&quot; is &quot;not unlike Chaucer&#039;s Pardoner&quot; and the Old Man of PardT, who is &quot;perhaps the Pardoner&#039;s alter-ego&#039;.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262479">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner and His Relics]]></dcterms:title>
    <dcterms:description><![CDATA[Evidence from a Latin handbook for preachers (&quot;Fasciculus morum&quot;), mendicant literature, and canon law suggests that the &quot;association of pardoners with fake relics was not as uncommon...as is currently believed.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269622">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner and Host-On the Road, in the Alehouse]]></dcterms:title>
    <dcterms:description><![CDATA[Combines psychoanalysis, ethnography, and &quot;queer theory&quot; to examine pilgrimage, travel, and specific locations as narrative devices that undermine and assert masculinities in CT, especially those of the Pardoner, the Host, and the Knight in the &quot;alehouse scene&quot; of Part 6. Female gender performance is not similarly destabilized by travel and location in Chaucer&#039;s poem. Legassie draws comparisons and contrasts from various pilgrimage accounts and from the Guild Hall memorandum concerning the John/Eleanor Rykener trial; also challenges notions of the &quot;liminality&quot; of travel.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275326">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner and Indulgences.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the history of indulgences in Church history as background to Chaucer&#039;s character of the Pardoner, commenting on abuses and critiques of the practice recorded in English documents as corroboration of Chaucer&#039;s depiction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265092">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner and Preaching]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval manuals of preaching demand that the good preacher be a good man, yet the Pardoner&#039;s sermon is very effective.  CT is an investigation of the possibility of reaching some compromise between the preaching methods of the evil, but eloquent, Pardoner and the virtuous, but less effective, Parson.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263258">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner and the &#039;Officer of Preacher&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Focusing on authority, knowledge, and character, Minnis argues that Chaucer was aware of the fourteenth-century theological debate on the validity of a moral tale told by an immoral man.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274361">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner and the &quot;Thesaurus Meritorium.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the &quot;fatal treasure&quot; of PardT gains ironic dimension when seen in light of the theory of the &quot;treasury of merits,&quot; used to explain or justify the sale of indulgences.]]></dcterms:description>
</rdf:Description></rdf:RDF>