<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/263966">
    <dcterms:title><![CDATA[Chaucer&#039;s Realism and His Character Portrayal]]></dcterms:title>
    <dcterms:description><![CDATA[Examines to what extent Chaucer&#039;s promise in GP to describe each pilgrim &quot;so as it semed&quot; to him is fulfilled.  Character portrayals are not illustrative, like Langland&#039;s, but representative.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274586">
    <dcterms:title><![CDATA[Chaucer&#039;s Reality Fiction.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Chaucer&#039;s storytelling style, which combines fiction, invention of literary characters that bring in &quot;details and personalities from &#039;life,&#039; &quot; and metafictive narrative elements.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269987">
    <dcterms:title><![CDATA[Chaucer&#039;s Recital Presence in the House of Fame and the Embodiment of Authority]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s interest throughout HF in the nature of phantoms--from dreams to spirits of the dead--ultimately reflects a single &quot;immediate concern: the survival of his rehearsal of the dream in script, that is, the translation of his voice into our text.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261680">
    <dcterms:title><![CDATA[Chaucer&#039;s Records of Early English Drama]]></dcterms:title>
    <dcterms:description><![CDATA[Allusions in MilT and WBP help date the mystery plays.  Despite the paucity of archival records, Chaucer&#039;s allusions clarify contemporary familiarity with the plays and their production.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265915">
    <dcterms:title><![CDATA[Chaucer&#039;s Reeve and St. Paul&#039;s Old Man]]></dcterms:title>
    <dcterms:description><![CDATA[The Reeve&#039;s four burning coals (&quot;Avauntyng, liying, anger, covetise&quot; (CT 1.3884) are taken from the description of the spiritual old man in Ephesians 4:22-28.]]></dcterms:description>
    <dcterms:description><![CDATA[They serve to characterize not only the Reeve but also the four main characters in the tale, who, however young, are spiritually old men as well.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268509">
    <dcterms:title><![CDATA[Chaucer&#039;s Reeve&#039;s Tale: Traditional Reception and Interpretation]]></dcterms:title>
    <dcterms:description><![CDATA[Examines RvT, considering such matters as its construction and function as a Tale, its moral, and its sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264091">
    <dcterms:title><![CDATA[Chaucer&#039;s Regard for English]]></dcterms:title>
    <dcterms:description><![CDATA[Despite belittling remarks by some of his characters about the matter of composing in English, there is no evidence that Chaucer himself is embarrassed to use English as his medium of composition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265525">
    <dcterms:title><![CDATA[Chaucer&#039;s Rehersynges: The Performability of &#039;The Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the humor and &quot;tonal delights&quot; of LGW, examining the poem as a script for oral performance; argues that the F version was written for oral presentation; the G version, a revision, for manuscript publication.]]></dcterms:description>
    <dcterms:description><![CDATA[Quinn reads each of the legends for &quot;pseudo-sacrilegious&quot; humor, considering relations to sources, rhetorical embellishments, and comic themes.  He conjectures about emphases Chaucer may have employed in performance and explores the comic range of the legends, from slapstick to &quot;smarmy cynicism.&quot;  Quinn concludes by examining how KnT, PhyT, and SNT preserve &quot;significant manifestations of Chaucer&#039;s own rehearsals.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262253">
    <dcterms:title><![CDATA[Chaucer&#039;s Religion and the Chaucer Religion]]></dcterms:title>
    <dcterms:description><![CDATA[Posits that &quot;different ages or cultures do not so much misread a great text (from a different time or place) as make from it special abstractions, acutely suited to their particular concerns.&quot;  At midcentury, the twentieth-century reception of Chaucer as realist was overlaid with interest in Chaucer&#039;s ambiguity and irony; &quot;the religious, almost puritanical Chaucer&quot; also emerged. This element is new in the Chaucer tradition, and &quot;it is peculiarly difficult to connect to late-twentieth-century sensibility.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261576">
    <dcterms:title><![CDATA[Chaucer&#039;s Religiosity and a Twentieth-Century Analogue, Muriel Spark]]></dcterms:title>
    <dcterms:description><![CDATA[Modern discussions of Chaucer and Spark deemphasize the clear religious strains in their fictions.  The grotesque, the absurd, and the aberrant are present in both as worldly flaws requiring divine transcendence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263181">
    <dcterms:title><![CDATA[Chaucer&#039;s Religious Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[As early as the fifteenth century, two views of CT prevailed: (1) the entire CT is a religious work, and (2) only ClT, PrT, MLT, MkT, ParsT, and SNT are religious.  In arguing the first position, Knight addresses difficulties arising from the Hengwrt order by proposing an overarching quadripartite structure.  GP and Ret reinforce the religious purpose of the entire CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274114">
    <dcterms:title><![CDATA[Chaucer&#039;s Religious Skepticism.]]></dcterms:title>
    <dcterms:description><![CDATA[Asserts that details of astrology, astronomy, and mythology in BD, TC, and CT evince Chaucer&#039;s confused and skeptical views of Christianity, commenting on passages from LGW and CT. Available at http://nobleworld.biz/images/Mohammed_Raji.pdf (last accessed October 1, 2018). ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262707">
    <dcterms:title><![CDATA[Chaucer&#039;s Religious Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Fourteen essays by various hands.  For individual essays,  of volume.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262209">
    <dcterms:title><![CDATA[Chaucer&#039;s Religious Tales : A Question of Genre]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s religious tales (Mel, ParsT, ClT, MLT, PrT, SNT, PhyT, MkT) are &quot;predicated upon the assumption that the significance of human life is the transcending of its secular limitation through Christian faith.&quot;  The only tales in CT not written in pentameter couplets, these tales have been systematically  marginalized to &quot;relieve&quot; Chaucer &quot;of full responsibility for tales that the modern reader has little taste for.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273684">
    <dcterms:title><![CDATA[Chaucer&#039;s Religious Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the sentimental charm of PrT that conflicts with its narrator&#039;s &quot;hatred of the Jews,&quot; and upon the combination of &quot;touching sentiment&quot; and &quot;mechanical&quot; rhetoric in MLT. Then considers the &quot;poignant emotion&quot; and pathos of ClT as they help to convey clearly and effectively the &quot;Christian patience&quot; that is the Clerk&#039;s &quot;doctrine.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262504">
    <dcterms:title><![CDATA[Chaucer&#039;s Repentance: A Likely Story]]></dcterms:title>
    <dcterms:description><![CDATA[The unadorned, unironic ParsT is what Chaucer wanted for the ending to CT.  The Ricardian pattern of sickness, pilgrimage, and penitence shows why Thomas Gascoigne&#039;s narrative of Chaucer&#039;s deathbed retraction of his writings is a likely story, or not as unlikely as it might first appear.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265287">
    <dcterms:title><![CDATA[Chaucer&#039;s Repetends from the General Prologue of &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Lancashire uses computer-assisted analysis to tabulate recurring words and phrases in Chaucer&#039;s writings.  The frequency and patterns of repeated words and their collocations identify Chaucer&#039;s preoccupations, distinctive features of his writing and methods of composition, and evidence for the chronology of his works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262654">
    <dcterms:title><![CDATA[Chaucer&#039;s Representations of Posture]]></dcterms:title>
    <dcterms:description><![CDATA[Favorable descriptions of persons in heroic writings generally emphasize gross size, erect posture, and directness in approach, whereas courtly texts, such as Chaucer&#039;s, represent largeness as unattractive or unrefined.  The latter clearly value humble bearing and indirection in both women and men.  Discusses TC, CT, and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272269">
    <dcterms:title><![CDATA[Chaucer&#039;s Reputation in the Restoration and the Eighteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s reputation among critics, editors, modernizers, and linguists between 1660 and 1800.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265918">
    <dcterms:title><![CDATA[Chaucer&#039;s Request for Money in the Man of Law&#039;s Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Compares MLP to its source in Innocent III&#039;s &quot;De miseria condicionis humane&quot; and to &quot;Purse&quot; to argue that MLP was originally written for Chaucer to read before a group of merchants to ask for payment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261559">
    <dcterms:title><![CDATA[Chaucer&#039;s Reticent Merchant]]></dcterms:title>
    <dcterms:description><![CDATA[Reticence shapes the relations between narrator and audience in the Merchant&#039;s portrait in GP, where the importance of the unexpressed first surfaces, and in MerT.  The rhetorical figure of reticence depends on the reader&#039;s cooperation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277305">
    <dcterms:title><![CDATA[Chaucer&#039;s Retraction and Mediaeval Canons of Seemliness.]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes medieval and modern notions of &quot;seemliness&quot;--a sociological concern distinct from legality and morality--and clarifies medieval ideas of linguistic, sartorial, aesthetic, and marital propriety in CT, observing a &quot;gap&quot; between what is &quot;seemly&quot; and what is &quot;morally acceptable&quot; concerning marriage. Explores standards of seemliness as they are reflected in Th and Mel, in the views of other tales expressed by Chaucer-narrator, and in Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276803">
    <dcterms:title><![CDATA[Chaucer&#039;s Retraction and the Degree of Completeness of the Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that a &quot;shift to extreme piety&quot; in ParsPT and Ret had &quot;nothing to do with&quot; Chaucer&#039;s &quot;general plan&quot; for CT, which the poet considered to be &quot;a nearly complete work.&quot; Considers evidence of changes in Chaucer&#039;s plan and justifies them largely in terms of his &quot;dramatic method,&quot; addressing &quot;seventeen successive passages which refer to [and indicate ongoing changes in] the general scheme proposed by the Host for the trip.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276348">
    <dcterms:title><![CDATA[Chaucer&#039;s Retraction and the Parson.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on ParsT as a &quot;literary embodiment of the attitude&quot; the Parson expressed in the GP &quot;as well as the attitude Chaucer reveals&quot; in Ret, suggesting that &quot;the Chaucer of the Retraction is also the Parson of the Tales, by means of whom he satisfies both his artistic and literary consciences.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275378">
    <dcterms:title><![CDATA[Chaucer&#039;s Retraction: A Review of Opinion.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys critics&#039; attempts to correlate Ret with Chaucer&#039;s poetic accomplishments, commenting on biographical surmises, textual issues, and thematic concerns such as the putative waning of Chaucer&#039;s acuity, clerical influence, the firm linking of Ret and ParsT in the manuscripts, the theme of penance, and/or rejection of worldly attachments. The authenticity of Ret is generally accepted in modern criticism and the poem may reflect Chaucer&#039;s &quot;anxiety&quot; or an unresolved tension between his ascetic and humanistic inclinations.]]></dcterms:description>
</rdf:Description></rdf:RDF>