<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/272422">
    <dcterms:title><![CDATA[Red-Lining and Blue-Penciling &#039;The Kingis Quair&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the unique witness to the text of &quot;Kingis Quair&quot; (Bodleian MS Arch. Selden B.24), assessing what the two scribal practices of the manuscript indicate about the composition, reception, and meaning of the poem. Includes discussion of the codicological and thematic relations &quot;Kingis Quair&quot; and Chaucer&#039;s works that appear in the same manuscript.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272421">
    <dcterms:title><![CDATA[Dunbar&#039;s Fear of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Studies fame, death, and related motifs in William Dunbar&#039;s &quot;Lament for the Makars&quot; (&quot;Timor Mortis&quot;), including comments on his echoes of and references to Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272420">
    <dcterms:title><![CDATA[Chaucer and the Making of English Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s contributions to English literary tradition: a &quot;new kind of organization&quot; of large narrative, an &quot;urbane&quot; style that assumes a shared set of values with its audience, and a &quot;new attitude&quot; toward the &quot;usefulness and dignity&quot; of poetry, all influencing later poetry. Though deriving much from classical and Continental predecessors, Chaucer was also influenced by native English romance, particularly its &quot;narrative &#039;koinê&#039;&quot; and &quot;conversational dialogue.&quot; The fusion of Boethian and Stoic philosophy with courtly conventions characterizes PF, while &quot;technical virtuosity&quot; is found in HF. TC is an &quot;expansion&quot; of PF, rendered more subtle through the narrator&#039;s interventions and sophisticated characterization. Treats KnT as one of Chaucer&#039;s great accomplishments and considers a variety of styles and themes in CT: the &quot;rough justice&quot; of fabliau comedy, sincere religious devotion, structural complexity, etc. Includes recurrent attention to source material, with extended commentary on ClT, FranT, MLT, NPT, PardT, PhyT, PrT, and SNPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272419">
    <dcterms:title><![CDATA[Discrecioun: Chaucer und die Via Regia]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the meanings and nuances of &quot;discrecioun&quot; (moral and rational judgment) in classical and medieval traditions, examining Chaucer&#039;s uses of the word and its thematic implications across his career as a poet. Includes references to most of his works, with extended discussion of TC, Truth, Sted, GP, KnT, Tho, Mel, MkT, and NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272418">
    <dcterms:title><![CDATA[Trading Tongues: Merchants, Multilingualism, and Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Examines multilingualism in the Middle Ages, in particular its role in medieval literature, and focuses on merchants and their transportation of language as well as goods. Chapters 1 and 2 deal extensively with Chaucer&#039;s exposure to &quot;London&#039;s many tongues,&quot; through his roles as diplomatic envoy and customs official, analyzing Chaucer&#039;s uses of &quot;mixed-language milieu&quot; in ShT and HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272417">
    <dcterms:title><![CDATA[The Hundred Years War and the &#039;Creation&#039; of National Identity and the Written English Vernacular: A Reassessment]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the Hundred Years&#039; War has been overemphasized as a moment in which war, identity, and language coalesced to form distinct English and French nations and vernaculars. Portrayals of France in the works of Chaucer and others are not oppositional, and Chaucer&#039;s attitude towards French is self-deprecating.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272416">
    <dcterms:title><![CDATA[Raising the Dead in Denise Giardina&#039;s Appalachian Fiction]]></dcterms:title>
    <dcterms:description><![CDATA[In discussing Denise Giardina&#039;s novels set in Appalachia, offers observations regarding the effective portrayal of life in the mountains of the South, and compares this understanding to how the original language of Chaucer enhances the reading and understanding of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272415">
    <dcterms:title><![CDATA[Versions of &#039;Manliness&#039; in the Poetry of Chaucer, Langland, and Hoccleve]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the connotations of &quot;man,&quot; &quot;manly,&quot; and &quot;manhood&quot; and discusses concept of &quot;real&quot; manhood for these three authors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272414">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Natura Naturans&#039; and &#039;Natura Naturata&#039;: Middle English &#039;Nature&#039; and &#039;Kynde&#039; to Signify &#039;Shizen&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Elaborates on the distinction between &quot;natura naturans&quot; and &quot;natura naturata&quot; in relation to their Greek, Latin, and Germanic etymology, and examines uses of the words &quot;nature&quot; and &quot;kynde&quot; in BD, HF, PF, and Rom to show the tendency of each word&#039;s meaning according to that distinction. In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272413">
    <dcterms:title><![CDATA[Aural Literacy: Rhetorical Community and Shared Sayings in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Examines authorial use of commonly heard sayings (e.g., proverbs) as a means of incorporating listeners into the rhetorical community formed by the audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272412">
    <dcterms:title><![CDATA[Tennyson&#039;s &#039;metre of Catullus&#039;: The Ambivalent Hendecasyllable]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that, &quot;while Tennyson thought he was composing quantitative hendecasyllables, he was in fact producing accentual verse of a type that English poets had been studiously avoiding for 500 years.&quot; Traces the development of Chaucer&#039;s iambic pentameter, through its recovery in Spenser and Sydney.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272411">
    <dcterms:title><![CDATA[Grace and Place in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The key rhyming pair place and grace appears several times in TC, notably at the center of the poem. Up to the moment of the lovers&#039; consummation, both words have a positive, sometimes spiritual connotation and intensity, but after that passage each term becomes associated with materiality rather than the ideal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272410">
    <dcterms:title><![CDATA[Transcribing and Analyzing the Lerned and Lewed Music of Chaucer&#039;s Chickens]]></dcterms:title>
    <dcterms:description><![CDATA[In NPT, Chaucer combines a learned, polysyllabic vocabulary with Anglo-Saxon, monosyllabic words. Shifts in vocabulary create the tale&#039;s mock-heroic tone, as a &quot;drop&quot; from Latinate to English words at the end of a passage undercuts the preceding lines. Syllable length and stress play a part in the complex, musical aurality of the tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272409">
    <dcterms:title><![CDATA[Costume Comedy: Sir Thopas&#039;s &#039;Courtly&#039; Dress]]></dcterms:title>
    <dcterms:description><![CDATA[Alone among Chaucer&#039;s knights, Thopas receives a full costume description, but it defies readers&#039; expectations of a top-to-toe effictio. Th also juxtaposes cheap and costly materials, mentions unattractive colors, and omits expected details, all for comic effect. These costume details would be emphasized in oral performance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272408">
    <dcterms:title><![CDATA[The Prioress&#039;s Prologue to her Passionate Tale: Psalm 8:2, Matthew 21:16, and Jesus&#039;s Prophecy of Singing Stones]]></dcterms:title>
    <dcterms:description><![CDATA[The quotation of Psalm 8 in PrP would have reminded Chaucer&#039;s audience of two Gospel narratives of Jesus&#039; entry into Jerusalem, one referring to singing children, the other to speaking stones. The power of this combined allusion links the clergeoun to Jesus, clarifying the semantic power of the singing body and the motivation for the tale&#039;s violent anti-Semitism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272407">
    <dcterms:title><![CDATA[Chaucer&#039;s Fancy Squire]]></dcterms:title>
    <dcterms:description><![CDATA[The Squire&#039;s digressive, complex tale may be understood as a reenactment of the creative process. Critics may be mistaken in trying to explain the significance of the four gifts, the falcon&#039;s distress, and other details, if the center of the tale is the extravagance of invention itself.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272406">
    <dcterms:title><![CDATA[Continuation of the Cokes Tale]]></dcterms:title>
    <dcterms:description><![CDATA[A comic completion, in mock Middle English, of CkT as a version of both Little Red Riding Hood and the parable of the Prodigal Son, with allusions to TC, GP and several stories from CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272405">
    <dcterms:title><![CDATA[What Spooks Arcite&#039;s Steed? According to Boccaccio, Chaucer, Dryden, and Shakespeare]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses four versions of Arcite&#039;s death and focuses on the actions of the horses in each: in Boccaccio, as in Statius, divine interventions frighten the horses; Chaucer&#039;s Arcite falls due to both a god&#039;s intervention and his own pride; in Dryden, pride is the primary cause; and in Shakespeare&#039;s offstage version, Arcite is thrown after a spark frightens his horse.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272404">
    <dcterms:title><![CDATA[Introduction]]></dcterms:title>
    <dcterms:description><![CDATA[Includes a brief biography of Alan Gaylord and summary of his teaching career at Michigan and Dartmouth. Among the hallmarks of Gaylord&#039;s work are interdisciplinarity, a sense of playfulness, and the value of performance both within and outside the traditional classroom.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272403">
    <dcterms:title><![CDATA[Performing Academic Papers]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstration and performance, accepted aspects of classroom practice, can make academic conference presentations more memorable. Examples of performative practice include an enacted battle in KnT, created costumes illustrating the Wife of Bath&#039;s dress in GP and Grisilda&#039;s dress in ClT, two models of the shot-window in MilT (photographs included), and a debate on the anatomical location of Absolon&#039;s kiss.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272402">
    <dcterms:title><![CDATA[Costumes, Props, Role-Playing, Active Learning: Performative Pedagogy in the Medieval Studies Classroom]]></dcterms:title>
    <dcterms:description><![CDATA[Oral performance of ambiguous lines can illustrate their various possible meanings. Emphasizes how recordings and online materials can supplement student reading and performance, and how films can help readers visualize key moments. Costumes, props, and role-plays also enliven Chaucer and medieval literature for students.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272401">
    <dcterms:title><![CDATA[Sounding Out the Host]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses Chaucer&#039;s Host as both character and rhetorical device. The Host&#039;s speech is characterized, in GP, by pauses, asides, and delayed rhyme, creating Lydgate (or &quot;broken-backed&quot;) lines and a prosaic tone. The Host&#039;s speech also displays his egotism and occasional mockery of the pilgrims.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272400">
    <dcterms:title><![CDATA[Performing Lydgate&#039;s Broken-Backed Meter]]></dcterms:title>
    <dcterms:description><![CDATA[Lydgate&#039;s meter differs from Chaucer&#039;s for several reasons, but their differences have been exaggerated by editorial practices. When performed, the &quot;Lydgate&quot; or &quot;broken-backed&quot; line emerges as an aesthetic choice. The broken-backed line characterizes Lydgate&#039;s Host as an authoritative figure in the Prologue to the &quot;Siege of Thebes.&quot; The &quot;Siege&quot; is a literary experiment in imitation of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272399">
    <dcterms:title><![CDATA[The Long and the Short of It: Teaching Chaucer&#039;s Verbal Music]]></dcterms:title>
    <dcterms:description><![CDATA[Students of Chaucer&#039;s poetry can easily appreciate its sounds and syntactical patterns, and should examine for themselves issues such as the pronunciation of final -e. Prosodic analysis can also be applied to translated versions of Chaucer. Live performances and recordings as well as attentive readings can help to replicate the Chaucerian &quot;soundscape.&quot;]]></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:RDF>