<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/266851">
    <dcterms:title><![CDATA[&#039;Queynte&#039; Arguments: The Ellesmere Order May Be the Most &#039;Satisfactory&#039; but Is It Chaucer&#039;s?]]></dcterms:title>
    <dcterms:description><![CDATA[Claiming &quot;there is no clear textual evidence for the assertion that [the Ellesmere order] reflects Chaucer&#039;s intention,&quot; Forni questions the authority of the Ellesmere order and examines how that order was canonized as Chaucerian. She contends that it is impossible to determine the order in which Chaucer intended the fragments to be read.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266091">
    <dcterms:title><![CDATA[&#039;Queynte&#039;: Some Rime and Some Reason on a Chaucer[ian] Pun]]></dcterms:title>
    <dcterms:description><![CDATA[Larry Benson&#039;s understanding of &quot;queynte&quot; as an adjective (SAC 9 [1987], no. 54) is untenable since it depends on a rhyme pattern inadmissible in Chaucer.  The true meaning is the traditional one of &quot;pudendum.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261244">
    <dcterms:title><![CDATA[&#039;Quha wait gif all that Chauceir wrait was trewe&#039;--Auctor and Auctoritas in 15th Century English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s playful attitude toward authority contrasts Gower&#039;s serious one; analogously, Henryson&#039;s questioning of Chaucer&#039;s authority (Testament of Cresseid) contrasts Lydgate&#039;s endorsement of it (Seige of Thebes).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270021">
    <dcterms:title><![CDATA[&#039;Quick-eyed love, observing&#039;--Le rire de Troilus, entre mépris du monde et amour des hommes]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the laughter of Troilus in light of the  tradition of contemptus mundi and stresses links between TC and pilgrimage literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266859">
    <dcterms:title><![CDATA[&#039;Quiting Eve&#039;: Violence Against Women in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Though Chaucer grants women agency in CT, they act against a background of violence that is often ignored or mitigated. The fabliaux, the romances, and the religious narratives all present violence against women as a normal part of society. WBT comes closest to challenging such violence, and ClT is the most antipathetic to women.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267162">
    <dcterms:title><![CDATA[&#039;Quoniam,&#039; &#039;Wife of Bath&#039;s Prologue&#039; D.608]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s punning use of &quot;quoniam&quot; in WBP was not the first time this word was used as a sexual euphemism. Giraldus Cambriensis, Matheolus, Juan Ruiz, and the author of the &quot;Roman de Flamenca&quot; used this euphemism in their writings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272246">
    <dcterms:title><![CDATA[&#039;Quoniam&#039; and the Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Characterizes the Wife of Bath as &quot;an ecclesiastical camp follower&quot; who tellingly misuses her familiarity with Scripture and liturgy, exemplifying this tendency through her blasphemous use of the term &quot;quoniam,&quot; which is the &quot;opening word of the final doxology of the Gloria.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269046">
    <dcterms:title><![CDATA[&#039;Raptus&#039; and the Poetics of Married Love in Chaucer&#039;s Wife of Bath&#039;s Tale and James I&#039;s &#039;Kingis Quair&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The representations of rape (sexual assault and abduction) in WBT and &quot;Kingis Quair&quot; invite consideration of free will and agency as part of a critique of late medieval social formulations of male/female relationships. In WBT, Chaucer indicts contemporary social structures; James I locates the problem in poetics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264708">
    <dcterms:title><![CDATA[&#039;Raptus&#039; in the Chaumpaigne Release and a Newly Discovered Document Concerning the Life of Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the word &quot;raptus&quot; in late-fourteenth-century English law and concludes that it meant &quot;forced coitus.&quot;  Also prints a newly discovered document relating to Cecily Chaumpaigne&#039;s case against Chaucer and suggests that the phrase &quot;de raptu meo,&quot; recorded in the deed of release in the &quot;Close Rolls,&quot; has been suppressed in the new document.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271942">
    <dcterms:title><![CDATA[&#039;rather be used / than be eaten&#039;? Harry Bailly&#039;s Animals and The Nun&#039;s Priest&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Umberto Eco&#039;s, Jacques Derrida&#039;s, and Marianne Dekoven&#039;s contributions to animal studies, and assesses the Host&#039;s references to &quot;jade&quot; and &quot;trede-fowl&quot; in NPP and NPE as &quot;prime examples&quot; of the &quot;human habit of appropriating the animal world.&quot; Also assesses the chase scene in NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268641">
    <dcterms:title><![CDATA[&#039;Ratio Amoris&#039; and &#039;Amor Rationis&#039;: The Struggle for Supremacy Between Love and Reason in &#039;The Romance of the Rose&#039; and &#039;The Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Thompson traces parallels among several dichotomies--eros and agape, cupiditas and caritas, love and reason--arguing that Chaucer was unsatisfied with the simple dichotomies he found in the &quot;Roman de la Rose.&quot; In KnT, love is &quot;reprimanded&quot; as folly, but the supremacy of reason is challenged as well.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265879">
    <dcterms:title><![CDATA[&#039;Reading from Within&#039;: Nicholas of Lyra, the &#039;Sensus iteralis&#039; and the Structural Logic of &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the Hebraic and patristic in the philosophical and English background of Chaucer&#039;s poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266713">
    <dcterms:title><![CDATA[&#039;Renewing&#039; &#039;Troilus&#039;, 1.890-96: &#039;Si Erravit Scriptor, Debes Corrigere, Lector&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Attempts to &quot;rehabilitate the status and reputation of lines 1.890-96,&quot; which some authorities have viewed as an insertion that breaks the continuity of Pandarus&#039;s encomiums for Criseyde.  Starting from the supposition that these lines were composed by the poet on a separate slip of paper or written somewhere in the margin, DiMarco suggests that Chaucer intended the lines to follow, rather than precede, TC 1.897-903.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264809">
    <dcterms:title><![CDATA[&#039;Restlesse anguish and unquiet paine&#039;: Spenser and the Complaint, 1579-1590]]></dcterms:title>
    <dcterms:description><![CDATA[Like Chaucer before him, Spenser uses the literary complaint with greatest success, not as a separate genre, but to heighten the dramatic context of larger works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263098">
    <dcterms:title><![CDATA[&#039;River Two Blind Jacks&#039;: Dave Godfrey&#039;s Chaucerian Allegory]]></dcterms:title>
    <dcterms:description><![CDATA[Godfrey echoes PardT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263283">
    <dcterms:title><![CDATA[&#039;Routhe&#039; and &#039;Hert-Hunting&#039; in the &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The hunt passages in BD involve technical terms that have not been fully understood, e.g., &quot;embosed,&quot; &quot;forloyn,&quot; and &quot;strake.&quot;  The literal hunt dissolves to a metaphorical one in which the dreamer seeks the hurt heart.  In terms of the narrator&#039;s, Alcyon&#039;s and the Black Knight&#039;s experiences, repetition of &quot;herte,&quot; &quot;routhe,&quot; and &quot;pitee,&quot; and plays on these words are important in developing the theme of the heart hunt.  The metaphorical quest concludes with &quot;routhe.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270686">
    <dcterms:title><![CDATA[&#039;Rum, Ram, Ruf&#039;: Chaucer and Linguistic Whig History]]></dcterms:title>
    <dcterms:description><![CDATA[Johnston scrutinizes Chaucer&#039;s comments on alliterative poetry in ParsP, interpreting them as evidence of a power struggle in England&#039;s evolving literary field. By presenting aesthetic difference as linguistic difference, Chaucer consciously presents alliterative poetry as provincial and old-fashioned and seeks to banish it from the literary scene.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269148">
    <dcterms:title><![CDATA[&#039;Save his own soul he hath no star&#039;: Thoughts Arising from &#039;The Dream of Fair Women&#039; (A Talk Given at the HWS Study Day, 16 February 2002)]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the possibility that Henry Williamson&#039;s novel &quot;The Dream of Fair Women&quot; was influenced by Tennyson&#039;s poem &quot;A Dream of Fair Women&quot; and, in turn, by Chaucer&#039;s LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273192">
    <dcterms:title><![CDATA[&#039;Save oure tonges difference&#039;: Translation, Literary Histories, and &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the relationship between &quot;translation and historical alterity&quot; in TC, examining how Dante&#039;s vernacular language in his &quot;Convivio&quot; connects with how Chaucer &quot;exploits the transformative potential of translation&quot; within his own vernacular writing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268949">
    <dcterms:title><![CDATA[&#039;Saving the Appearances&#039; II : Another Look at Chaucer&#039;s &#039;Complaint to His Empty Purse&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Yeager finds a partisan second level of meaning underneath the sycophantic surface of the envoy of Purse - one that challenges Henry&#039;s right to rule.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265666">
    <dcterms:title><![CDATA[&#039;Savour,&#039; Chaucer&#039;s &#039;Summoner&#039;s Tale,&#039; and Matthew 5:13]]></dcterms:title>
    <dcterms:description><![CDATA[The lord in SumT speaks of &quot;the salt of the erthe and the savor,&quot; usually taken as a reference to Matthew 5.13.  Yet no Bible known to Chaucer uses the word &quot;savor&quot; (Latin &quot;vapor&quot;) in this passage.  Instead, Chaucer may have drawn the phrase from Gower&#039;s &quot;Vox clamantis&quot; 3.1997-98.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272538">
    <dcterms:title><![CDATA[&#039;Secte&#039; and &#039;Suit&#039; Again: Chaucer and Langland]]></dcterms:title>
    <dcterms:description><![CDATA[Cites examples from Middle English literary texts to support reading &quot;secte&quot; as meaning &quot;petition&quot; or legal suit in ClT 4.1171, referring to the Wife of Bath&#039;s argument.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262957">
    <dcterms:title><![CDATA[&#039;Securitas&#039; and Chaucer&#039;s Knight]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Securitas&quot; as defined by William of Conches, Phillip of Bergamo, William Peraldus, and others explains both the Knight&#039;s response to other pilgrims in the narrative frame of CT and his relation to Theseus in KnT.  Both the Knight and Theseus attempt to provide order through a rhetoric leading to community ritual; both have a limited moral perspective later subsumed into the observance of pilgrimage as penitence (ParsT).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261447">
    <dcterms:title><![CDATA[&#039;Sely Dido&#039;: A Good Woman&#039;s Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s ironic treatment of the Dido legend in LGW and HF involves a naive narrator who erroneously sympathizes with Dido; a medieval audience would have recognized differences from the treatment of Dido in Virgil&#039;s Aeneid and Ovid&#039;s Heroides.  Chaucer signals the reader to question the written word and reveals a mistrust of poetic fiction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264561">
    <dcterms:title><![CDATA[&#039;Sely John&#039; in the Legende&#039; of of the &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Sely&quot; (from OE &quot;gesaelig&quot;) originally meant &quot;happy, fortunate,&quot; and hence &quot;blessed by God, pious, holy.&quot;  Later,however, the word took on connotations of &quot;pitiful&quot; and &quot;silly, rustic,&quot; while still retaining its earlier meaning in different contexts.  Chaucer uses &quot;sely&quot; in all these various senses in his poems, and its ambiguous use in MilT as an epithet for John the carpenter is rich in irony and multivalence of meaning (recalling the similar device of the tag &quot;hende&quot; Nicholas).]]></dcterms:description>
</rdf:Description></rdf:RDF>