<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/275517">
    <dcterms:title><![CDATA[Chaucerian Rhyme-Breaking.]]></dcterms:title>
    <dcterms:description><![CDATA[Laments critical inattention to the prevalence of rhyme-breaking in Chaucer&#039;s poetry, and explores precedents in continental medieval verse and its critical traditions. Clarifies the term, and gauges the effects and functions of the device in a variety of examples from Chaucer&#039;s works where it most often emphasizes ironies, affects pace, and increases &quot;dynamism.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261669">
    <dcterms:title><![CDATA[Chaucerian Ritual and Patriarchal Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the claim that Chaucer is sympathetic to women, demonstrating that he silences Emelye&#039;s literary past in KnT and seeks to contain feminine gender through adjustments of Boccaccio&#039;s Teseida; the tension between order and chaos in KnT reflects the problems of such an attempt.  Ganim also assesses the God of Love in LGW as an unsympathetic feminized male.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265679">
    <dcterms:title><![CDATA[Chaucerian Romance and the World Beyond Europe]]></dcterms:title>
    <dcterms:description><![CDATA[MLT and PrT &quot;recoil from the otherness of Islam and of medieval Jewry,&quot; but SqT treats the Mongols with &quot;toleration and an engaged sympathy.&quot;  The xenophobia of the first two &quot;Tales&quot; indicates that they should be read ironically; SqT is Chaucer&#039;s metaphor for the &quot;difficulty of bridging gaps.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271749">
    <dcterms:title><![CDATA[Chaucerian Romance?]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses structural and stylistic features (rather than the subject matter) of medieval narratives classed as romance, analyzing the &quot;compositional structure&quot; of WBT, particularly its &quot;inorganic&quot; and &quot;additive&quot; incorporation of digressive materials. Also comments on TC, KnT, SqT, FranT, Thop, and works by Chretién de Troyes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272790">
    <dcterms:title><![CDATA[Chaucerian Selves---Especially Two Serious Ones]]></dcterms:title>
    <dcterms:description><![CDATA[Posits that the &quot;distance&quot; between Chaucer and his various speaking personae is difficult to define because it &quot;fluctuates&quot; within individual poems and because a reader&#039;s sense of a given narrator is modified by the &quot;fantastic&quot; setting of the poem and its believability. Assesses this dynamic in BD, PF, LGWP, CT, and, especially, HF, TC, and their endings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269004">
    <dcterms:title><![CDATA[Chaucerian Sentences: Revisiting a Crucial Passage from the Nun&#039;s Priest&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[A close reading of NPT 7.4347-61 (Chauntecleer on women as men&#039;s confusion), seeking to clarify subtleties via &quot;prosodic criticism,&quot; i.e., reading the lines as a spoken performance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263872">
    <dcterms:title><![CDATA[Chaucerian Shakespeare: Adaption and Transformation]]></dcterms:title>
    <dcterms:description><![CDATA[An introduction by Donaldson and essays by eight authors explore Shakespeare&#039;s use of Chaucer and the ways both treat similar themes.  Contains a bibliography. For the eight essays that pertain to Chaucer, search for Chaucerian Shakespeare under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268095">
    <dcterms:title><![CDATA[Chaucerian Solempnytee and the Illusion of Order in Shakespeare&#039;s Athena and Verona]]></dcterms:title>
    <dcterms:description><![CDATA[Rhetorically and thematically, the association of Theseus with solempnytee in KnT strains against the chaotic forces at work in the world of the Tale. Shakespeare opens the gap between Theseus&#039;s solemnity and comedy in A Midsummer Night&#039;s Dream for subversive effect; in Romeo and Juliet, solemnity becomes ironic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269858">
    <dcterms:title><![CDATA[Chaucerian Spaces: Spatial Poetics in Chaucer&#039;s Opening Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Woods discusses the effect and significance of space and place in seven tales of CT, exploring place as an index of character and space as a site of characteristic potential. In KnT, Theseus and the narrator consider chivalry analogous to nature; in MilT, Alysoun&#039;s household is a world for men. Symkyn&#039;s house in RvT is a place of advancement, in contrast to the countryside; in CkT, London is part of the interior world of the characters. Custance&#039;s return to Rome in MLT coincides with a collapse of narrative space. The Wife Bath projects her desires onto the landscape, but she also internalizes the world to accommodate her needs. In ShT, the wife makes her bedroom her own mercantile space, a parallel to the merchant&#039;s counting room.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265862">
    <dcterms:title><![CDATA[Chaucerian Strategies: Effects and Causes]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Chaucer&#039;s methods of drawing audiences into a mutually creative process by confronting them with questions.]]></dcterms:description>
    <dcterms:description><![CDATA[By repetition, Chaucer ensures that responses to such questions lead ultimately to comprehension of the overall moral message of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270276">
    <dcterms:title><![CDATA[Chaucerian Style in &#039;The Unicorn&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses  Chaucer&#039;s influence on &quot;The Unicorn&#039;s Tale,&quot; found in the early-sixteenth-century Asloan MS and adapted from Nigel of Longchamp&#039;s &quot;Speculum Stultorum&quot; which Chaucer alludes to in NPT 7.3312-16. Focuses on verbal echoes from Chaucer&#039;s NPT and GP, on Chaucerian meter and setting, and a &quot;distinctly Chaucerian style of irony&quot; found in &quot;The Unicorn&#039;s Tale.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265613">
    <dcterms:title><![CDATA[Chaucerian Textuality: The Politics of Allegory in&#039; The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines CT in light of medieval discourses on allegory and of modern theories (exegetical, deconstructive, Bakhtinian), considering framework, prologues, and tales, especially WBT,PardT, and CYT.  Also discussed are ParsT, Ret, Th, MkT, FrT, SumT, ManT, and ShT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262219">
    <dcterms:title><![CDATA[Chaucerian Theatricality]]></dcterms:title>
    <dcterms:description><![CDATA[Beginning with Kittredge&#039;s argument that the thematic and structural unity of CT lies in the pilgrims and their dramatic interchange, and moving to the counterarguments of Muscatine (1957), Robertson (1962), Jordan (1967), Pearsall (1985), and Benson (1986)--which attempt &quot;to drive a stake into the heart of the &quot;dramatic&quot; reading of the &quot;Canterbury Tales&quot;--Ganim proposes replacing the metaphor of &quot;drama&quot; with that of &quot;theatricality.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[His intention is to orient contemporary critical positions &quot;toward some long-neglected materials such as urban and court spectacle and certain forms of late medieval performance.&quot;  The &quot;theatricality&quot; metaphor locates a governing sense of performance in CT, and an interplay among Chaucer&#039;s voice, his fictional characters, and his immediate audience.]]></dcterms:description>
    <dcterms:description><![CDATA[It becomes a paradigm for the Chaucerian poetic and defines &quot;Chaucer&#039;s own manipulations of the forms of popular culture and the varying discourses of inherited high literary forms.&quot;  The &quot;theatricality is then primarily stylistic rather than sociological, but that style is immersed in social and political contexts ranging from popular theatrics to court ceremony.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270399">
    <dcterms:title><![CDATA[Chaucerian Themes and Style in the &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads FranT as an epitome of the CT to the extent that both are concerned with the &quot;ideal of patience and the problems of time and change,&quot; emphasizing the universality of these concerns and their appearances throughout the CT.  As in Marie de France&#039;s &quot;Guigemar,&quot; it is &quot;surrender&quot; that &quot;leads to the release of power&quot; in FranT, a particular manifestation of Chaucer&#039;s general concern with fate and &quot;aventure&quot; of life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276953">
    <dcterms:title><![CDATA[Chaucerian Topoi and Topography in Thomas Dekker&#039;s (and John Webster&#039;s) &quot;Westward Ho&quot; (1605) and &quot;Northward Ho&quot; (1607).]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that Chaucerian estates satire in CT influenced the development of dramatic &quot;city comedy&quot; at the turn of the seventeenth century. Shows that in his &quot;Ho&quot; plays Dekker adapts Chaucer&#039;s London topographies, characterizations, themes, and motifs of game and play to develop &quot;neo-Chaucerian topoi and topography . . . in which everyone is a &#039;homo viator&#039; and &#039;homo ludens&#039;.&quot; Links these concerns with John Norden&#039;s 1593 map of London.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266608">
    <dcterms:title><![CDATA[Chaucerian Tragedy]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer was the first to consider Boccaccio&#039;s stories tragedies.  But unlike Boccaccio, who served a cautionary moralism and wished to stress retributive justice, Chaucer aimed primarily at sympathy and empathy, developing a generic theory that included all kinds of falls and misfortunes and that set him apart from writers who simply wrote ably on the theme of mutability or who had a keen sense of &quot;lacrimae rerum.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[With TC, Chaucer introduced the word &quot;tragedy&quot; into English, established its meaning for later generations, and wrote the first tragedy with any claims to greatness since the Greek tragedies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275336">
    <dcterms:title><![CDATA[Chaucerian Tragedy and the Christian Tradition.]]></dcterms:title>
    <dcterms:description><![CDATA[Revisits the concept of &quot;Chaucerian tragedy,&quot; considering KnT, MLT, and NPPT, as well as TC and MkT, and explores the faults or faultlessness of Fortune&#039;s victims in these works, the moral sophistication of the narrators of the tales, classical notions of Fate and error, and Christian notions of Providence and Original Sin. Argues that Chaucer&#039;s views are fundamentally consistent with Boethian, Augustinian notions of &quot;Christian tragedy&quot; which involves the &quot;fortunate fall&quot; and Providential joy after sorrow, linking both with the liturgical &quot;Exultet,&quot; i.e., &quot;the deacon&#039;s chant in the Easter Vigil.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270073">
    <dcterms:title><![CDATA[Chaucerian Vernaculars]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the relations among French, Anglo-French, and English in the linguistic and cultural conditions of Chaucer&#039;s time. Calls for a new sensitivity to translation as process, proposes more subtle awareness of interdependent etymologies (e.g., &quot;frank&quot; and &quot;fraunchise&quot;), and encourages a more sensitive array of source studies. Butterfield explores uses of &quot;forein&quot; in Bo; the diplomatic and poetic functions of envoy in Chaucer&#039;s five Boethian ballades; Criseyde&#039;s second letter in TC as diplomatic exchange; and ManT as a &quot;quasi-envoy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261613">
    <dcterms:title><![CDATA[Chaucerian Women, Ideal Gardens, and the Wild Woods]]></dcterms:title>
    <dcterms:description><![CDATA[The walled-garden images in KnT, MerT, the GP sketch of the Prioress, WBT, FrT, and BD illustrate that walls not only provide safety but also exclude women from the knowledge needed to progress from virginity to motherhood and to &quot;wise womanhood.&quot;  The Wife of Bath provides experiential knowledge to pilgrims venturing beyond the walled-in &quot;garden&quot; of London.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265094">
    <dcterms:title><![CDATA[Chaucerian Wordplay: The Nun&#039;s Priest and His &#039;Womman Divyne&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer uses wordplay as a device for establishing the Nun&#039;s Priest&#039;s resentment of his subordination to the Prioress.  The Priest disassociates himself from the anti-feminist sentiment of the tale with his final claim &quot;I kan noon harm of no womman divyne.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271512">
    <dcterms:title><![CDATA[Chaucerian Works in the English Renaissance: Editions and Imitations]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the early editions of Chaucer (Caxton-Speght), and argues that editorial direction may have led to an emphasis on Chaucer&#039;s moral &quot;gravitas,&quot; at the expense of attention to his comedic aspects. The reception of those texts, in turn, may have led to his imitators (e.g., Spenser) overbalancing on the side of sententiousness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274555">
    <dcterms:title><![CDATA[Chaucerian.]]></dcterms:title>
    <dcterms:description><![CDATA[Brief short story in which the narrator&#039;s desire to hear an authentic story--&quot;to get to the Canterbury Tales outside the covers of a book&quot;--leads to a change in his life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275592">
    <dcterms:title><![CDATA[Chaucerotics: Uncloaking the Language of Sex in &quot;The Canterbury Tales&quot; and &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Chaucer&#039;s &quot;enticing eroticism and provocative perversity&quot; as &quot;clear and vital signs of premodern pornography.&quot; Historicizes terms such as &quot;obscene,&quot; &quot;pornographic,&quot; and &quot;erotic,&quot; and proposes &quot;Chauceroticism&quot; to describe the various ways the poet uses innuendo and detail to provoke, reveal, and conceal erotic action and pleasure in those of his works &quot;where the act of coitus is presented in some detail.&quot; MilT combines pornography with humor; RvT with brutality; MerT with anti-chivalric sentiment; ShT with prostitution; and TC with &quot;amorous &#039;jouissance&#039;.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276877">
    <dcterms:title><![CDATA[Chaucerove metafore u prijevodu Luke Paljetka: Kognitivna studija.<br />
[Chaucer&#039;s Metaphors in Luko Paljetak&#039;s Translation: A Cognitive Study].]]></dcterms:title>
    <dcterms:description><![CDATA[Compares conceptual metaphors in MilT and in its Croatian translation by Luko Paljetak (1986) in order to determine which metaphors are &quot;conventional in both languages and cultures.&quot; In Croatian, with an English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274745">
    <dcterms:title><![CDATA[Chaucerovy Cechy. [Chaucer&#039;s Bohemia.].]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the erudition of Anne of Bohemia, reads CT &quot;alongside contemporaneous works in Czech, German, and Latin&quot; (languages familiar to Anne), and maintains that Anne was Chaucer&#039;s &quot;imagined reader&quot; who &quot;shaped the way he wrote and what he chose to write.&quot; In Czech, with an abstract in English.]]></dcterms:description>
</rdf:Description></rdf:RDF>