<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/274337">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseide.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. No further information available.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261452">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s transformations of his sources produced a work that invites multiple and open-ended responses.  Benson contrasts TC and its source, Boccaccio&#039;s Filostrato; he assesses medieval and modern readership of TC; and he considers the story of Troy and its role in TC.]]></dcterms:description>
    <dcterms:description><![CDATA[Focusing on character, love, fortune, and Christianity, he shows that Chaucer&#039;s goal was aesthetic rather than didactic, and that even though Chaucer assumed a medieval Christian audience, his poem provoked and continues to provoke a wide variety of valid critical responses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268525">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[When Troilus kisses only Criseyde&#039;s eyes in TC 3.1352-55, the gesture marks a departure from Boccaccio, whose lovers kiss eyes, lips, and breasts. Following thirteenth-century French literary convention, the behavior may illustrate Chaucer&#039;s attempt to communicate the &quot;alterity&quot; of the antique culture.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270912">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Blamires introduces TC as Chaucer&#039;s &quot;longest finished poem,&quot; commenting on sources, fusion of genres, suppleness of verse form and diction, the characters&#039; sympathies, and the poem&#039;s &quot;emotional trajectory.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267904">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseyde 1.540-875]]></dcterms:title>
    <dcterms:description><![CDATA[Neither Pandarus, Troilus, nor Chaucer is to be taken at face value in TC 1.540-875. All three are deceivers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269684">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseyde and Boethius&#039;s Consolation of Philosophy]]></dcterms:title>
    <dcterms:description><![CDATA[Following a four-part epistemological scheme posed in Boethius&#039;s Consolatio, Chaucer develops Troilus&#039;s love in TC from senses through images and reason to intelligence. As a figure of emotion, subject to tragedy, Troilus serves as a contrast to Criseyde, who is impervious to tragedy because she is led by reason--a Boethian opposition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268161">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseyde and the Durham Ordinances of 1385]]></dcterms:title>
    <dcterms:description><![CDATA[The original audience of TC would have read the decision of the Trojan Parliament in light of the 1385 Durham Ordinances, clause 3. Since this clause explicitly prohibits the imprisoning of unarmed women, the parallel suggests Criseyde&#039;s status as a tragic victim.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269062">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseyde as a Critique of Medieval Historiography]]></dcterms:title>
    <dcterms:description><![CDATA[Reads TC as a critique of the Augustinian Christian view of providential historical teleology.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272022">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseyde, IV, 295-301]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Troilus&#039; allusion to Oedipus at 4.300, and rejects the suggestion that it reflects psychological understanding; Troilus refers to Oedipus as an exemplar of someone victimized by Fortune.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261768">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseyde: &quot;Subgit to alle Poesye&quot;: Essays in Criticism]]></dcterms:title>
    <dcterms:description><![CDATA[Sixteen essays or portions of longer works, all pertaining to metafictive or metatextual aspects of TC as a self-conscious work of literature.  Each includes a synoptic introduction. For the nine essays that are here published for the first time, search for Chaucer&#039;s Troilus and Criseyde: &quot;Subgit to alle Poesye&quot; under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264478">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseyde: A Critical Study]]></dcterms:title>
    <dcterms:description><![CDATA[The poem&#039;s central interest lies in the attempt by two human souls to establish the deepest and most testing of relationships.  The representation of this relationship involves more than a dialogue:  it insinuates a dialectical process that worries out the true natures of the lovers.  Although their voices blend in the &quot;love duet&quot; in Book III, they are heard in almost acrimonious debate in the concluding scene of Book IV. ]]></dcterms:description>
    <dcterms:description><![CDATA[The contrast between these scenes is itself part of a wider dialectic that induces a searching anatomy of love.   The generalized notion of love is diffracted into a living spectrum of merging attitudes embodied in the &quot;dramatis personae,&quot; and the narrative of human intercourse is poised between a Prologue that declares allegiance to the cult of Cupid and an Epilogue that affirms the only true source of love to be the religion of Christ.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266594">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Criseyde: A Poet&#039;s Response to Ockhamism]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Ockhamism and Chaucer&#039;s exposure to it.  Through both a &quot;philosophical interpretation of character&quot; and a close analysis of images, words, and discourse, Andretta maintains Chaucer&#039;s allegiance to &quot;manifest truths that are skeptical, and only probable.&quot;  Considers the epilogue to TC as revealing &quot;the entire poem&#039;s message:  one must look up beyond thus world to behold the real truth.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271736">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Self-Renunciation in Love]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Troilus&#039;s &quot;altruistic love&quot; of Criseyde to be one of the &quot;outstanding examples in late medieval romance&quot; of &quot;self-abnegating love,&quot; i.e., &quot;placing another&#039;s good before one&#039;s own.&quot; Troilus&#039;s hesitancy to act is a manifestation of this idealized self-renunciation, &quot;carefully bound up with his fatalism and his vanity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271615">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and St. Paul&#039;s Charity]]></dcterms:title>
    <dcterms:description><![CDATA[Examines various passages of praise of Troilus in TC, comparing them with a fifteenth-century Middle English theological poem, &quot;The Sixtene Poyntes of Charite,&quot; observing that Chaucer&#039;s hero, while not Christian, exemplifies the Pauline ideals of the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262020">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and the Ruby]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval lapidary tradition strongly suggests that Troilus&#039; ruby ring represents the powers and qualities of Criseyde.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274483">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus of Book IV.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in Book 4 of TC Chaucer presents a &quot;conflict between reason and desire&quot; (amplified from Boccaccio&#039;s &quot;Filostrato&quot;), helping to characterize and evaluate Troilus as, simultaneously and ambiguously, &quot;both strong and weak,&quot; reasonable as a chivalric hero, but philosophically short-sighted.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264476">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus: Essays in Criticism]]></dcterms:title>
    <dcterms:description><![CDATA[Contains seventeen essays or excerpts from longer works by various authors, fourteen previously published, some with very brief additional &quot;afterwords.&quot;  For the three newly-published pieces, search for Chaucer&#039;s Troilus: Essays in Criticism under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263920">
    <dcterms:title><![CDATA[Chaucer&#039;s Troubled Endings]]></dcterms:title>
    <dcterms:description><![CDATA[Working in a tradition of opposing elements, Chaucer emphasizes differences yet achieves unity in diversity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271572">
    <dcterms:title><![CDATA[Chaucer&#039;s Twelve &#039;Long&#039; and &#039;Short&#039; Vowels: the Evidence from the Rhymes in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[An examination of Skeat&#039;s Rime-Index to Chaucer&#039;s &quot;Troilus and Criseyde&quot; shows that &quot;vowel length is an unneeded hypothesis&quot; and Chaucer&#039;s vowels may be classified solely on the basis of &quot;quality, not quantity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270497">
    <dcterms:title><![CDATA[Chaucer&#039;s Two &#039;Corages&#039;: Moral Balance in the &#039;General Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the balanced opposition between the sacred and the secular in the opening and closing sections of the GP encourages readers to be tolerant and cautious in judgment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268341">
    <dcterms:title><![CDATA[Chaucer&#039;s Two Nuns]]></dcterms:title>
    <dcterms:description><![CDATA[Dutton reads the Prioress and the Second Nun as paired opposites: one childish, the other adult. In PrPT, the Creator is subordinated to his creatures, who seem &quot;unaware of the effects of the Incarnation.&quot; SNPT reasserts the proper order, in which Christians exercise chastity and charity while rejecting wrath and vengeance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262938">
    <dcterms:title><![CDATA[Chaucer&#039;s Two Ways: The Pilgrimage Frame of &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In ParsP, ParsT, and Ret, we are &quot;forced to confront&quot; the textuality of CT; the &quot;various conflicting interpretations&quot; are conditioned by habitual responses to CT.  Four standard approaches to ParsT--absolute, ironic, dualistic, and textual--result in an &quot;impasse&quot; that can be escaped only through the dualistic view &quot;consistent with the textual.&quot;  ]]></dcterms:description>
    <dcterms:description><![CDATA[Lawton takes the position that the placement of fragment I (10) at the close of CT may have been a compiler&#039;s decision,not Chaucer&#039;s.  In part 2 of the article, he examines literary contexts and traditions that might have served as models for closure and elaborates on the contrast that ParsT provides for the rest of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264583">
    <dcterms:title><![CDATA[Chaucer&#039;s Tyrants of Lombardy]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s contemporaries were familiar with his &quot;tyraunts of Lumbardye&quot; (LGW, G. 353), notorious for their cruelty.  The Lombard setting of ClT suggests proverbial Lombard tyranny for Walter, an imperfect mixture of tyranny and pity, for he rues Griselda&#039;s suffering.  MerT, a parody of ClT, emphasizes lust, for which Lombard tyrants were also notorious, as well as avarice, another of their vices.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270806">
    <dcterms:title><![CDATA[Chaucer&#039;s Uncanny Regionalism: Rereading the North in &#039;The Reeve&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In RvT, Chaucer&#039;s references to language, lore, and the North both explore uncanny (in the Freudian sense) political differences among regions and reveal notions of nation. The North or Northernism plays a small but significant role elsewhere in CT, particularly in MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267564">
    <dcterms:title><![CDATA[Chaucer&#039;s Uncommon Voice : Some Contexts for Influence]]></dcterms:title>
    <dcterms:description><![CDATA[Italian vernacular literature (rather than French court culture) inspired Chaucer to develop his authorial voice. FranT is a reading of Decameron 10.5 that illustrates the development of Chaucer&#039;s distinctly English agenda.]]></dcterms:description>
</rdf:Description></rdf:RDF>