<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/274853">
    <dcterms:title><![CDATA[Chaucer&#039;s Return from Lombardy, the Shrine of St. Leonard at Hythe, and the &quot;corseynt Leonard&quot; in the &quot;House of Fame.&quot; Lines 112-18.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the significance of Chaucer&#039;s travels through Kent. Claims that HF resonates with the cult and Church of St. Leonard in Kent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264280">
    <dcterms:title><![CDATA[Chaucer&#039;s Revaluation of Chivalric Honor]]></dcterms:title>
    <dcterms:description><![CDATA[Although the prevailing code of honor was belligerent, Chaucer&#039;s dissatisfaction with this aggressive style is subtly indicated in Truth, Mars, Th, and KnT by presentation of &quot;heroic&quot; actions and martial &quot;worshippe&quot; as slightly ridiculous.  In Mel, Prudence demonstrates that true &quot;honour&quot; lies in man&#039;s control over himself.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262543">
    <dcterms:title><![CDATA[Chaucer&#039;s Revision of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[R. K. Root&#039;s theory of how the text of TC underwent authorial revision, thus resulting in a number of significant variants between the manuscript groups, has been challenged by Barry A. Windeatt (1984) and Ralph Hanna (1986).]]></dcterms:description>
    <dcterms:description><![CDATA[  Root clearly went too far in trying to explain these variants with a single hypothesis.  However, the skepticism of Windeatt and Hanna goes too far in the other direction.  Undoubtedly, Chaucer made revisions, but when or how they came about we cannot claim to know.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266588">
    <dcterms:title><![CDATA[Chaucer&#039;s Revision of the Prologue to &#039;The Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the original (F) version with the revised (G) version of LGWP, commenting on stages of transmission of G--from its composition to the extant manuscript Cambridge University Library Gg 4.27.  Hypothesizes that Chaucer revised LGWP as a separate work after Henry IV&#039;s usurpation, imitating Gower&#039;s &quot;Confessio Amantis&quot; and motivated by political and aesthetic concerns.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263247">
    <dcterms:title><![CDATA[Chaucer&#039;s Rhetorical Rendition of Mind: &#039;The Squire&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Apparent artistic infelicities and a concern with surface style reflect the Squire&#039;s immature mind, unformed tastes, and youthful impatience.  SqT is not badly written or unfinished.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276538">
    <dcterms:title><![CDATA[Chaucer&#039;s Rhetorical Violence.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces &quot;gendered protocols of violence that have been inherited through literary interpretive practices as they are represented in Chaucer&#039;s corpus.&quot; Argues that &quot;acts of reading, writing, and translation can function as forms of violence in medieval literature.&quot; Focuses on ClT, PhyT, ManT, and TC, with a chapter on pedagogical applications.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263374">
    <dcterms:title><![CDATA[Chaucer&#039;s Rhyme Royal Tales and the Secularization of the Saint]]></dcterms:title>
    <dcterms:description><![CDATA[By his choice of stanza Chaucer invites us to compare four tales: SNT, PrT, MLT, ClT, each an elevated tale of saintly suffering involving impingement of secularism upon the saintly ideal.  Completed earlier, PhyT is not in rhyme royal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272398">
    <dcterms:title><![CDATA[Chaucer&#039;s Riding Rhyme]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s poetry should be declaimed or at least heard with the &quot;mind&#039;s ear.&quot; His decasyllabic couplets, once dismissed by critics as &quot;riding rhyme&quot; and even confused with the doggerel of Th, are &quot;eminently playable,&quot; offering a variety of phonological and semantic possibilities. Rhyme, enjambment, and caesurae contribute to Chaucer&#039;s conversational style in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266244">
    <dcterms:title><![CDATA[Chaucer&#039;s Roman Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Chaucer&#039;s two tales set in ancient Rome--PhyT and SNT--maintaining that each is &quot;particularly concerned with political corruption&quot;; &quot;the depravity of those who wield the state&#039;s power has quite undermined it.&quot;  Hirsh notes a possible &quot;progression&quot; in certain late tales, which &quot;give evidence of a growing authorial disinclination to privilege the ideal and ordered, but rather to engage the incongruous,the eccentric, and palpably false or unjust.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268764">
    <dcterms:title><![CDATA[Chaucer&#039;s Romances]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer transcended and transgressed the commonly accepted conventions of &quot;romance&quot;: Th parodies the genre, while BD elevates its status by associating romance with classical works. Th, KnT, SqT, FranT, and WBT reflect a variety of approaches to romance. In TC, Chaucer combines realism and romance and raises &quot;existential questions relating to free will, faith, and transience.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261489">
    <dcterms:title><![CDATA[Chaucer&#039;s Romaunt of the Rose, Parts I and II]]></dcterms:title>
    <dcterms:description><![CDATA[A Japanese prose translation of Rom, based on The Riverside Chaucer.  Includes notes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276405">
    <dcterms:title><![CDATA[Chaucer&#039;s Rosary and Donne&#039;s Bracelet: Ambiguous Coral.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces backgrounds to the coral beads held by the Prioress (GP 1.158-59), both as an amulet against evil and a charm for earthly love, also found in John Donne&#039;s &quot;Sonnet. The Token,&quot; lines 10-12.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275708">
    <dcterms:title><![CDATA[Chaucer&#039;s Rose.]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates the need for a reexamination of the physical description and linguistic analysis of University of Glasgow, MS Hunter 409 (MS V.3.7) of Rom. Manuscript study reveals the &quot;canard&quot; that a northerner translated Fragment B. Refutes the three-fragment theory of Rom and claims that Chaucer is the author of the entire manuscript.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261444">
    <dcterms:title><![CDATA[Chaucer&#039;s Ruth: An Exegetical Poetic in the Prologue to the Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Examines exegetical interpretations of and allusions to the story of Ruth.  Chaucer&#039;s allusion to Ruth in LGWP expresses alienation and belatedness and asserts poetic privilege and the interpretive creativity of marginality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264606">
    <dcterms:title><![CDATA[Chaucer&#039;s Sad and its Related Words]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s use of &quot;sad&quot; in his works.  The manuscript reading in ROM A211 makes it clear that he probably did not bear in mind the modern meaning of &quot;sorrowful&quot; or &quot;mourning.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266965">
    <dcterms:title><![CDATA[Chaucer&#039;s Scogan and Scogan&#039;s Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Scog and Henry Scogan&#039;s &quot;Moral Ballade,&quot; arguing that the two works reflect aspects of Ricardian and Lancastrian culture, respectively--Chaucer serves in a &quot;benignly neglectful court culture,&quot; and Scogan heralds an &quot;age of politicized poetry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269108">
    <dcterms:title><![CDATA[Chaucer&#039;s Scribe]]></dcterms:title>
    <dcterms:description><![CDATA[Mooney surveys the manuscripts and life records of Adam Pinkhurst, identified as the scribe addressed in Chaucer&#039;s Adam and as the scribe of the Hengwrt and Ellesmere manuscripts, among others. Includes a chronology of manuscripts Pinkhurst is known to have copied, an outline of his career, and an appendix with detailed analysis of Pinkhurst&#039;s hand, including ten reproductions sampling his work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275020">
    <dcterms:title><![CDATA[Chaucer&#039;s Scribes: London Textual Production,1384-1432.]]></dcterms:title>
    <dcterms:description><![CDATA[Pushes back on assumptions that have been made about Adam Pinkhurst and homes in on narratives constructed by scholars such as Linne Mooney. By analyzing idiomatic and vernacular trends, responds to the cult of Pinkhurst as &quot;Chaucer&#039;s Scribe&quot; by arguing that Pinkhurst is not the person Chaucer addresses in Adam and that he was not the scribe of Hengwrt or Ellesmere manuscripts of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270914">
    <dcterms:title><![CDATA[Chaucer&#039;s Second Hector: The Triumphs of Diomede and the Possibility of Epic in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, Diomede, rather than Troilus, functions as the second Hector, and Diomede is the only hero who escapes the cycle of Theban and Trojan violence. At a dangerous time in English history, Chaucer desires a healing ideology for England; his turn from epic and history to romance parallels problems with political discourse in the Ricardian era.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267848">
    <dcterms:title><![CDATA[Chaucer&#039;s Second Nun&#039;s Tale and the Apocalyptic Imagination]]></dcterms:title>
    <dcterms:description><![CDATA[Although SNT has been considered a straightforward account of St. Cecilia, apocalyptic techniques make it more complex. Engaging apocalyptic imagination, Chaucer focuses on &quot;eschatology, renovation, and the collapse of time.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264443">
    <dcterms:title><![CDATA[Chaucer&#039;s Second Nun&#039;s Tale and the Iconography of Saint Cecilia]]></dcterms:title>
    <dcterms:description><![CDATA[Although Chaucer was not a &quot;painterly&quot; poet, he was, like most other serious writers of the time, an iconographic poet.  Examines a number of medieval images appropriate to Chaucer&#039;s life of Saint Cecilia and includes twenty reproductions in black and white.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273174">
    <dcterms:title><![CDATA[Chaucer&#039;s Second Nun&#039;s Tale and the Problem of Lay and Religious Self-Formation]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that in SNT Cecilia&#039;s &quot;sense of incongruity between inner self and social definition&quot; is directed to a pious lay audience. Argues that  the Second Nun&#039;s use of the word &quot;bisynesse obfuscates&quot; what the tale has to convey to her lay audience]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277690">
    <dcterms:title><![CDATA[Chaucer&#039;s Second Nun&#039;s Tale: Tiburce&#039;s Visit to Pope Urban.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that details and source material make clear that the description of Tiberce&#039;s visit to Pope Urban in SNT 8.352-53 indicates Tiburce received the sacrament of Confirmation as well as the sacrament of Baptism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267828">
    <dcterms:title><![CDATA[Chaucer&#039;s Secular Marvels and the Medieval Economy of Wonder]]></dcterms:title>
    <dcterms:description><![CDATA[Commerce in automatons, mechanical contrivances, and other marvels or mirabilia in late-medieval Europe diminished the wonder of such objects and encouraged scepticism. Chaucer&#039;s FranT and SqT rationalize the marvels they present in ways that indicate the poet&#039;s ambivalence, a combination of his technological awareness and the legacy of romance wonders.]]></dcterms:description>
    <dcterms:description><![CDATA[For a revised version, see Lightsey&#039;s Manmade Marvels in Medieval Culture and Literature (New York: Palgrave Macmillan, 2007), chapter 2.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267255">
    <dcterms:title><![CDATA[Chaucer&#039;s Selective &#039;Remembraunce&#039; : Ironies of &#039;Fyn Loving&#039; and the Ideal Feminine]]></dcterms:title>
    <dcterms:description><![CDATA[Although the narrator&#039;s intention in LGW is to praise his heroines for their &quot;trouthe in love,&quot; his naiveté leads to an ironic representation of feminine ideals and, ultimately, an underlying antifeminism.]]></dcterms:description>
</rdf:Description></rdf:RDF>