<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/262559">
    <dcterms:title><![CDATA[Classical and Medieval Elements in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Drawing on classical and medieval sources, Chaucer&#039;s TC incorporates multiple genres, each representing its own view of experience.  The resulting masterpiece is neither an epic, a tragedy, a romance, a chronicle, a lyric, nor an allegory but a rich and complex whole that transcends any one genre.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266842">
    <dcterms:title><![CDATA[Classical and Medieval Influences on Chaucer&#039;s Fabliau Comedy]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how classical comedy (especially Plautus and Ovid) and medieval elegiac comedies influenced Chaucer&#039;s fabliaux and the fabliau elements of ManT, WBP, TC, and the Prologue to the apocryphal Tale of Beryn.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267102">
    <dcterms:title><![CDATA[Classical Antiquity in Chaucer&#039;s Chivalric Romances]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer uses classical, pagan setting as a &quot;screen&quot; on which to &quot;project alternatives to medieval social reality.&quot; He capitalizes on the strangeness of presenting classical privacy in TC. In KnT, especially in the temple of Diana, Chaucer explores the role of women in a masculinist society. The fusion of classical and Celtic in FranT creates a &quot;fantasia&quot; that may have inspired Shakespeare&#039;s Cymbeline.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271134">
    <dcterms:title><![CDATA[Classical Authors]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the tradition of medieval translation from Latin into English, commenting on Continental mediators and awareness of Greek literature.  Focuses on translations of Boethius (including Chaucer&#039;s) and those of Apollonius of Tyre, treating them as representative. Also considers translations from Ovid and Virgil, especially those by Chaucer and Gower.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted as &quot;Classical Translation in Medieval England&quot; in Brian Cummings and Gabriel Josipovici, eds. The Spirit of England: Selected Essays of Stephen Medcalf (London: Modern Humanities Research Association and Maney Publishing, 2010), pp. 41-63.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275760">
    <dcterms:title><![CDATA[Classical Fable and English Poetry in the Fourteenth Century.]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes theories and meanings of conventional mythographic images and allusions in medieval literature, derived from classical fables and allegorized in late-classical and medieval commentaries on such fables. Includes comments on the allusion to Virgil&#039;s and Dante&#039;s descents into hell in FrT (3.1513-20) and the resonances in KnT of Theseus as an exemplary figure of the noble life and the rational soul.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263330">
    <dcterms:title><![CDATA[Classical Gods and Christian God: Religious Allusions and the Moral of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examination of all references and allusions to the Christian God and pagan gods in TC reveals that Chaucer works within a broad spectrum of tonal variations in the classical and medieval traditions.  The poem carries simultaneously two opposing yet internally consistent readings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262100">
    <dcterms:title><![CDATA[Classical Imitation and Interpretation in Chaucer&#039;s &quot;Troilus&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Engages major critics of TC on the matter of interpretation, accepting the Robertsonian definition of TC as a tragedy and viewing Robertson&#039;s work as implicit in three decades of critical controversy.  Examines textual dilemmas basic to the controversy, focusing on poetic ambiguity; classical imitation, especially &quot;elegant patterns of textual relationships&quot;&#039; and &quot;the parameters of medieval Christian humanism.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Beyond the use of sources (Homer, Virgil, Ovid, Dante, Boccaccio, Jean de Meun, and Petrarch), Chaucer is a &quot;medieval classicist&quot; in his understanding and use of classical poetic techniques.  In TC, he attempts to &quot;reconstruct a spiritually foreign culture&quot;--a &quot;religious archaeology.&quot;  Chaucer, a creative imitator, consciously uses &quot;amphibologies&quot; and &quot;ambages&quot; (ambiguities) to unite poetic past and artistic tradition. ]]></dcterms:description>
    <dcterms:description><![CDATA[Fleming explores the confrontation of pagan past and Christian present in TC, showing how Chaucer used &quot;the tragic limitations of the lovers, mirrored by those of a doomed civilization, to examine fatally inadequate conceptions of loving and speaking.&quot;  He treats ambiguity, &quot;dramatized images of religious and amatory idolatry,&quot; and &quot;the many-layered theme of &#039;interpretation&#039;&quot;.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271254">
    <dcterms:title><![CDATA[Classical Literature and Its Reception: An Anthology]]></dcterms:title>
    <dcterms:description><![CDATA[Collects excerpts from various &quot;British, Irish, and Caribbean Writers&quot; (Chaucer to Seamus Heaney) and from various classical writers (Homer to Juvenal) to demonstrate classical influence. Opens (pp. 3-10) with a selection from WBP (ll. 627-822) in Middle English accompanied by notes and glosses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266985">
    <dcterms:title><![CDATA[Classical Paradigms of Rape in the Middle Ages: Chaucer&#039;s Lucretia and Philomela]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses medieval literary representations of rape in light of law, medicine, and theology. Reads Chaucer&#039;s account of Lucretia in LGW as a challenge to Augustine&#039;s admonitions against suicide, and the account of Philomela as proto-feminist. Compares Chaucer&#039;s versions with those of John Gower in Confesssio Amantis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276296">
    <dcterms:title><![CDATA[Classical Scholars and Anglo-Classical Poets.]]></dcterms:title>
    <dcterms:description><![CDATA[Looks at multiple examples of reference and allusion to Greek and Roman literature in works by Chaucer and Milton to contemplate ways in which these poets parallel modern classical scholars in their approach to the ancient world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264340">
    <dcterms:title><![CDATA[Classical Theories of Allegory and Christian Culture]]></dcterms:title>
    <dcterms:description><![CDATA[Classical and medieval theories of allegory profoundly affected the interpretation and creation of medieval allegorical literature.  The medieval audience believed that all worthwhile writing represented some truth, not necessarily Augustinian &quot;caritas.&quot;  ]]></dcterms:description>
    <dcterms:description><![CDATA[Appendix contains Englished excerpts from many of the authors in &quot;Rhetores Graeci.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[(Appendix on primary Greek sources by Patricia Matsen).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266585">
    <dcterms:title><![CDATA[Classicizing and Medievalizing Chaucer: The Sources for Pyramus&#039; Death-throes in the &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer drew on Ovid&#039;s &quot;Metamorphoses&quot; and the &quot;Ovide moralise&quot; rather than on Geoffrey of Monmouth for his description of Pyramus&#039;s death in LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271466">
    <dcterms:title><![CDATA[Classicizing Christianity in Chaucer&#039;s Dream Poems: The &#039;Book of the Duchess,&#039; &#039;Book of Fame,&#039; and &#039;Parliament of Fowls&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that although BD, HF, and PF are secular poems, Chaucer&#039;s structure and wordplay in the dream poems &quot;juxtaposes the secular and the spiritual, the classical and the Christian in complex tension.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269708">
    <dcterms:title><![CDATA[Classics of British Literature, Part 1]]></dcterms:title>
    <dcterms:description><![CDATA[Audio-visual recording of twelve lectures by Sutherland (from Anglo-Saxon roots to Paradise Lost), illustrated with occasional still pictures and linguistic examples. Two thirty-minute lectures pertain to Chaucer: Lecture 2, &quot;Chaucer--Social Diversity,&quot; concerning GP and the linguistic, prosodic, and socioeconomic conditions of Chaucer&#039;s time; and Lecture 3, &quot;Chaucer--A Man of Unusual Cultivation,&quot; concerning Chaucer&#039;s life and career, with commentary on CT, especially KnT, MilT, and WBPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273329">
    <dcterms:title><![CDATA[Classics Revisited.]]></dcterms:title>
    <dcterms:description><![CDATA[Comprises appreciative discussions of sixty &quot;classics&quot; of world literature, from &quot;Gilgamesh&quot; to the plays of Chekhov, including a discussion of CT (pp. 141-45) that emphasizes Chaucer&#039;s skills of characterization and comments on relations between tales and tellers (&quot;The Tales judge the narrators&quot; ), describing the poem as the &quot;perfect model&quot; for would-be writers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275590">
    <dcterms:title><![CDATA[Classroom PSA: Values, Law, and Ethics in &quot;The Reeve&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies contradictions and complications in legal and ethical understandings of rape, and describes how issues of consent and culpability can be used productively in classroom discussion of RvT to help students understand their own values as well as those that inhere in the text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274429">
    <dcterms:title><![CDATA[Clauses in Chaucer Introduced by Conjunction with Appended &quot;That.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies, tabulates, and analyzes the clauses introduced by conjunctions in Chaucer&#039;s works (except Th and his lyrics), with or without pleonastic &quot;that,&quot; attending to stress (verse and prose) and meter, and concluding, generally, that Chaucer achieved a &quot;more finished form&quot; when he &quot;availed himself of &#039;that&#039;,&quot; and he used it more often in his decasyllabic than in his octosyllabic verse,]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265232">
    <dcterms:title><![CDATA[Clean Maids, True Wives, Steadfast Widows: Chaucer&#039;s Women and Medieval Codes of Conduct]]></dcterms:title>
    <dcterms:description><![CDATA[Using a tripartite structure of woman&#039;s role in society drawn from medieval codes of conduct, Hallissy explores Chaucer&#039;s depictions of women in light of accepted modes of behavior. Each section establishes medieval expectations for female behavior and then presents Chaucerian examples that exemplify or counter these behaviors.]]></dcterms:description>
    <dcterms:description><![CDATA[Topics include the giving of rules to women, suffering women and the chaste ideal, transition from perfect virgin to perfect wife, women&#039;s speech and domestic harmony, the gossip and the shrew, woman and architectural space, women and sartorial excess, widowhood, the archwife, and authority and experience.  Hallissy gives particular attention to LGW,WBPT, BD, and TC; some attention to GP, ClT, FranT, MLT, MerT, ParsT, PhyT, and Mel.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262763">
    <dcterms:title><![CDATA[Clearing the Fields: Toward a Reassessment of Chaucer&#039;s Use of Trevet in the &#039;Boece&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Gleason addresses three misunderstandings:  disparagement of the literary value of Bo and its sources; inaccurate evaluation of Chaucer&#039;s use of sources, especially Trevet; and lack of information about Trevet&#039;s commentary, which is significant in itself and important to Chaucer for philosophic content beyond mere glosses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265982">
    <dcterms:title><![CDATA[Clercs et femmes au Moyen Age]]></dcterms:title>
    <dcterms:description><![CDATA[Mel capitalizes on a pattern of attention to women earlier in CT, reflecting Chaucer&#039;s own concern with female rights of speech and self-expression.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267412">
    <dcterms:title><![CDATA[Clergy, Masculinity and Transgression in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Uses several case studies to assess medieval male clerical behavior and its transgressions. Briefly discusses Nicholas and Absolon of MilT as an illumination of the dilemma of young medieval clerics, caught between their vows of celibacy and their masculinity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272134">
    <dcterms:title><![CDATA[Clerical Satire in the Portrait of the Monk and the Prologue to &#039;The Monk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores seven aspects of Chaucer&#039;s satiric presentation of the Monk and his failure to follow monastic ideals: claustration, hunting, Benedictine rule, monastic study, poverty, asceticism, and celibacy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268037">
    <dcterms:title><![CDATA[Clerical Training and Lay Instruction in Chaucer&#039;s England]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the English educational system in Chaucer&#039;s time, tracing the paths from parish schools to the universities indicated in the GP portraits of the Clerk and the Parson.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261366">
    <dcterms:title><![CDATA[Clerics and Courtly Love in Andreas Capellanus&#039; The Art of Courtly Love and Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[In his depiction of clerical celibacy, Chaucer may have been influenced by Andreas.  The two authors approach the topic in similar fashion and reflect contemporary attitudes and turmoil.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263475">
    <dcterms:title><![CDATA[Clerk Jankyn: At hom to bord / With my gossib]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;At hom&quot; referred to &quot;one&#039;s native dwelling,&quot; while &quot;bord&quot; signified &quot;meals.&quot;  &quot;Gossib&quot; referred to the baptismal sponsor and suggests that the Wife may well have had children.  Jankyn&#039;s being &quot;At hom to bord / With my gossib&quot; implies that he lived with his own family, to which the Wife of Bath was closely connected.]]></dcterms:description>
</rdf:Description></rdf:RDF>