<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/263616">
    <dcterms:title><![CDATA[Chaucerian Irony in the Verse Epistles &#039;Words unto Adam,&#039; &#039;Lenvoy a Scogan,&#039; and &#039;Lenvoy a Bukton&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[These highly unconventional epistolary poems lack well-defined literary antecedents and clearcut sources, instead reflecting the poet&#039;s own experiences and opinions on his craft and love and marriage.  As universal ironic statements by a naive narrator, Adam is a humorous account of Original Sin and Redemption; Scog is an allegory of ways to conquer mutabliity and spiritual death; Buk, though seeming to condemn marriage, approves that bondage in &quot;obedience to the New Law&quot; of Christ&#039;s love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265515">
    <dcterms:title><![CDATA[Chaucerian Irony Revisited: A Rhetorical Perspective]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, ironic effects are achieved through a rich exploration of a variety of rhetorical devices that create a complicated interplay between speaker, subject, and audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277249">
    <dcterms:title><![CDATA[Chaucerian Laughter in a &quot;Litel&quot; Tragedy: Humour in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that through &quot;exaggeration of romance and courtly love elements&quot; in TC and the &quot;heavenly laughter&quot; of Troilus at the poem&#039;s end, Chaucer &quot;turns the tragic story of Troilus and Criseyde first into a comedy then into a divine comedy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277603">
    <dcterms:title><![CDATA[Chaucerian Metapoetics and the Philosophy of Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer in the Platonic tradition of &quot;philosophical poetry&quot; where &quot;poetry is a self-reflexive epistemological practice that interrogates the conditions of art in general.&quot; Includes chapters on the Pardoner&#039;s Old Man as a neo-Platonic Tithonus figure; &quot;the machinery of atheism&quot; in MilT as &quot;sufficient grounds for the transformation of a fallen and contingent world into the only world whatsoever&quot;; the humanization of Phoebus in ManT and its unification of &quot;art and history into a single monistic experience&quot;; and NPT as &quot;ars poetica for the entire Chaucerian Performance&quot; that &quot;undercuts the naturalistic strategies of the first three poems by a long experiment in the philosophical conflict between art and history.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262310">
    <dcterms:title><![CDATA[Chaucerian Metre and Early Tudor Songs]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;Fayrfax Manuscript&quot; (ca. 1505) is one of the three major song books containing virtually all that survives of English secular songs from the late fifteenth and early sixteenth centuries.  A study of this manuscript&#039;s technique of setting English words to music can throw some light on the rhythm of late-fifteenth-century &quot;Chaucerian&quot; verse.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266966">
    <dcterms:title><![CDATA[Chaucerian Minstrelsy : Sir Thopas, Troilus and Criseyde and English Metrical Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s reception of native romance in TC is more positive and artistically significant than has been previously recognized. After examining the elements of metrical romance in Th and arguing that it parodies one extreme of Chaucer&#039;s own poetic practice, the essay concludes that TC and Th show Chaucer&#039;s ambivalent use of the romance tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264815">
    <dcterms:title><![CDATA[Chaucerian Narrative]]></dcterms:title>
    <dcterms:description><![CDATA[Emphasis has shifted from the study of Chaucer as a realist and proto-novelist to the examination of his mode of presentation and his esthetics:  principles of rhetoric, uses of style, and poetic theory.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted from the first (1968) edition, with updated bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272080">
    <dcterms:title><![CDATA[Chaucerian Narrative and Gothic Style: A Study of the &#039;Legend of Good Women,&#039; the &#039;Monk&#039;s Tale,&#039; and the &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads LGW, MkT, and HF as structurally successful works when viewed in light of medieval &quot;Gothic&quot; aesthetics of &quot;inorganic&quot; structure, derived from visual tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271889">
    <dcterms:title><![CDATA[Chaucerian Obscenity in the Court of Public Opinion]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses how Chaucer&#039;s bawdiness is perceived in the United States. Includes issues of censorship related to CT, with focus on curricula changes over the past few decades.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264603">
    <dcterms:title><![CDATA[Chaucerian Onomastics: The Formation of Personal Names in Chaucer&#039;s Works]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer uses 636 proper names (excluding about 300 additional topographical and geographical names).  They fall into four categories: astrological, Biblical, classical, and mythological.  Names from Latin and Greek appear in the oblique case (e.g., &quot;Isidis,&quot; gen. sing. of &quot;Isis&quot;).  Names may show metathesis.  There is inconsistency of spelling, e.g., i/y, e/i.  Names may be contracted for metrical reasons.  The spelling may be determined by pronunciation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275625">
    <dcterms:title><![CDATA[Chaucerian Parrhesia: World-Building and Truth-Telling in &quot;The Canterbury Tales&quot; and &quot;Lak of Stedfastnesse.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers CT--primarily SNT, Mel, ManT, and Sted--to argue that Chaucer&#039;s frequent depictions of characters employing &quot;parrhesia,&quot; which Michel Foucault associates with speaking truth to power, suggest that Chaucer admired those who spoke truth to power and may even have practiced &quot;parrhesia&quot; in his poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265224">
    <dcterms:title><![CDATA[Chaucerian Pathos]]></dcterms:title>
    <dcterms:description><![CDATA[Though some of Chaucer&#039;s works are now considered ironic, satirical of the narrator&#039;s persona, Chaucer experimented with genuine pathos in SNT, MLT, PrT, SqT, and LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267501">
    <dcterms:title><![CDATA[Chaucerian Phonemics : Evidence and Interpretation]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies inconsistencies in scholarly descriptions of how to pronounce Chaucerian English, and demonstrates that historical data are inconclusive in many phonemic situations, including long vowels, consonant clusters, final -e, and others. Suggests that Chaucer&#039;s English be reconstructed in a form closer to Shakespeare&#039;s than to Alfred&#039;s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262680">
    <dcterms:title><![CDATA[Chaucerian Play: Comedy and Control in the &quot;Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Using &quot;paradigms&quot; of human behavior drawn from psychology, psychoanalysis, and anthropology, Kendrick studies play in CT.  Chaucer&#039;s tales involve either &quot;pathetic fictions that foreground individual accommodation to exterior reality or public morality at the expense of the satisfaction of individual desires&quot; or &quot;the individual&#039;s assimilation of reality to himself in an inversion of the status quo.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Topics include laughter, play, and fiction, &quot;sentence&quot; versus &quot;solas,&quot; the spirit versus the flesh, desire and play, verbal taboos, symbolic rebellion in CT, deauthorizing the text, structure of CT, and the carnivalesque.  An appendix concerns &quot;The &#039;Troilus&#039; Frontispiece and the Dramatic Presentation of Chaucer&#039;s Verse.&quot;  Some attention is given to ClT, GP, GP Prioress, Chaucer the Pilgrim, KnT, MLP, MLT,MerT, MilT, MilP, MkT, NPT, PardT, RvT, ShT, Th, SumT, SqT,and WBP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268303">
    <dcterms:title><![CDATA[Chaucerian Poetics]]></dcterms:title>
    <dcterms:description><![CDATA[The Anglo-French duality of Chaucer&#039;s literary roots underlies the complexity of his representations of the self and others. In this light, HF should likely be dated later than it traditionally is.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263298">
    <dcterms:title><![CDATA[Chaucerian Poetics and the Prologue to the &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[As an ars poetica, LGWP shows that the poet is not a creator but a mediator, balancing vision with experience.  This action serves to mediate between the extremes of &quot;cupiditas&quot; and &quot;caritas,&quot; tempering the former with the latter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266467">
    <dcterms:title><![CDATA[Chaucerian Polity: Absolutist Lineages and Associational Forms in England and Italy]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Chaucer&#039;s works (especially CT) as his responses to and imaginings of the politics of his age, politics he experienced at home, in his journeys to Italy, and in his readings of Italian literature--especially that of Petrarch and Boccaccio but also that of Dante and Albertano of Brescia.]]></dcterms:description>
    <dcterms:description><![CDATA[The &quot;compagnye&quot; of GP represents the &quot;associational ideology&quot; of early Florentine humanism, while the despotism of KnT reflects the absolutist tyranny of Visconti Lombardy, the seedbed of later patronizing humanism.]]></dcterms:description>
    <dcterms:description><![CDATA[Aligning Boccaccio with associational forms and Petrarch with despotic ones, Wallace shows how Chaucer responds to his predecessors as he depicts feminine or wifely eloquence as desirable in politics, especially in Mel and LGWP (F version) and, obversely, in ManT.  Chaucer&#039;s fabliaux present tensions between the city and the country, while MLT explores mercantilism.  ClT and MerT examine humanism vs. tyranny; MkT depicts the fate of despotism.]]></dcterms:description>
    <dcterms:description><![CDATA[Wallace provides much new historical context for the works of Petrarch, Boccaccio, and Chaucer and argues that Chaucer adumbrates Shakespeare&#039;s humanism, although in a form more feminist and communal and less despotic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273283">
    <dcterms:title><![CDATA[Chaucerian Portraiture: Medicine and the Monk.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on details of the Monk&#039;s description in GP, explaining how they characterize him as &quot;both an epicure and a sexual connoisseur.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261236">
    <dcterms:title><![CDATA[Chaucerian Prisoners: The Context of The King&#039;s Quair]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s various uses of the &quot;structural, rhetorical, and metaphorical possibilities&quot; of prison imagery reflect Boethian thought and influence later medieval English tradition, in particular The King&#039;s Quair of James I of Scotland.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264876">
    <dcterms:title><![CDATA[Chaucerian Problems and Perspectives: Essays Presented to Paul E. Beichner, C.S.C]]></dcterms:title>
    <dcterms:description><![CDATA[Sixteen essays by various authors. For individual essays that pertain to Chaucer, search for Chaucerian Problems and Perspectives under Alternative title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274936">
    <dcterms:title><![CDATA[Chaucerian Puns on &quot;Brotel.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in Chaucer&#039;s three uses of &quot;brotel&quot; and its derivatives in MerT (4. 1279, 2061, and 2241), the poet plays punningly on sexual implications of the term in addition to the primary meaning, &quot;brittle&quot; or &quot;fragile.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263116">
    <dcterms:title><![CDATA[Chaucerian Realism]]></dcterms:title>
    <dcterms:description><![CDATA[This updated version of Bloomfield&#039;s 1964 essay &quot;Authenticating Realism and the Realism of Chaucer&quot; discusses &quot;authenticating frames&quot; in Chaucer:  the dream frame of BD, the historical frame of TC, and the social frame of CT, which &quot;gives us a strong sense and feel of contemporary English life.&quot;  The tension between the real and the unreal is central in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265572">
    <dcterms:title><![CDATA[Chaucerian Realism]]></dcterms:title>
    <dcterms:description><![CDATA[Countering the modern critical view of Chaucer as a nominalist or antirealist, Myles finds Chaucer a realist in many senses of the term:  &quot;a foundational realist, an epistemological realist, an ethical realist, a semiotic and linguistic realist, and an author capable of creating psychologically real characters.&quot; ]]></dcterms:description>
    <dcterms:description><![CDATA[Topics include medieval understandings of realism, intentionality, and semiological metaphysics, as well as medieval and modern understandings of modes of presentation. Myles demonstrates his argument primarily in terms of Chaucer&#039;s deliberate play with three-level semantics in FrT,the very subject of which is intentionality.  Gives some attention to Bo, ClT, GP, ManT, MerT, NPT, PardT, ParsT, Ret, Rom, Sted, SumT, TC, and WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268301">
    <dcterms:title><![CDATA[Chaucerian Representation]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the evolution of critical appropriations and pictorial representations of Chaucer from the fifteenth to the twenty-first centuries, suggesting that oversimplifications of Chaucer recur because he is so deeply concerned with the generative processes of literature. Cooper confronts the question, &quot;What is it that Chaucer imitates or represents?&quot; Recurrent attention to PF, Th, and imitations of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271524">
    <dcterms:title><![CDATA[Chaucerian Representations of Human Behavior: Determined and Free Action in the &#039;Knight&#039;s Tale&#039; and the &#039;Wife of Bath&#039;s Prologue and Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contemplates issues of determinism and free will in KnT and WBPT. KnT is viewed as &quot;deterministic,&quot; which in turn is countered by the Wife, as well as ClT and SNT.]]></dcterms:description>
</rdf:Description></rdf:RDF>