<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/277517">
    <dcterms:title><![CDATA[Collaborative Teaching and Creative Assignments Using Contemporary Adaptation.]]></dcterms:title>
    <dcterms:description><![CDATA[Advocates the use of student-generated creative writing in a course called &quot;Surviving Trauma in the Middle Ages,&quot; focusing on reading ClT in tandem with Patience Agbabi&#039;s retelling of Chaucer&#039;stale, &quot;I Go Back to May 1967,&quot; from &quot;Telling Tales&quot; (2014). Includes teacher&#039;s (O&#039;Connell) and student&#039;s (Colby) perspectives and their shared conclusions on the theory and practice of such an approach.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276880">
    <dcterms:title><![CDATA[Collaborative Writing in the Long Nineteenth Century: Sympathetic Partnerships and Artistic Creation.]]></dcterms:title>
    <dcterms:description><![CDATA[Chapter 4--&quot;Typographical Adventures: William Morris, Community, and the Kelmscott Press&quot;--includes discussion of the &quot;sympathetic collaboration&quot; (a concept theorized by William Morris) between Edward Burne-Jones and Robert Catterson-Smith in producing illustrations for the Kelmscott Chaucer. Focuses on ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268890">
    <dcterms:title><![CDATA[Collation and Its Misuses in Some Middle English Texts]]></dcterms:title>
    <dcterms:description><![CDATA[Edwards comments on the conceptualizations and uses of variants in textual studies of CT and &quot;Piers Plowman,&quot; particularly those by Manly and Rickert and by Kane and Donaldson, arguing that some manuscripts are better regarded as separate versions of texts than as sources of individual variants. Edwards considers in this light an excerpted version of the GP description of the Parson found in British Library MS Additional 10340.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266063">
    <dcterms:title><![CDATA[Collation, Textual Criticism, Publication, and the Computer]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the advantages of computerized collation programs such as &quot;CASE,&quot; &quot;TUSTEP,&quot; and &quot;Collate,&quot; commenting on how they can expedite traditional editing.  Cites many applications to CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274304">
    <dcterms:title><![CDATA[Collection: Literature for the Seventies.]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes short stories, poetry, and drama, including Chaucer&#039;s Purse (p. 347) in the modernized version by E. T. Donaldson (1958).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261258">
    <dcterms:title><![CDATA[Collections of French Lyrics Chaucer May Have Known]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes three manuscript collections (Pennsylvania French 15, Westminster Abbey 21, and Bibl. Nat. Nouvelles acquisitions fr. 6221) to infer their late forteenth-century exemplars.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274073">
    <dcterms:title><![CDATA[Collocations in Law Texts in Late Middle English: Some Evidence Concerning Adverbs Ending in -&quot;lī.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Compares and contrasts late medieval English adverbial usage in a number of legal texts with those found in a &quot;Reference Corpus,&quot; the latter including a number of examples from Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270648">
    <dcterms:title><![CDATA[Colonialism, Latinity, and Resistance]]></dcterms:title>
    <dcterms:description><![CDATA[Bowers describes Chaucer&#039;s treatment of Latin texts throughout his &quot;literary insurgency against [a] foreign incursion&quot;--a kind of postcolonial resistance that is also consistent with Lollard vernacularization. Reads MLT as a &quot;rejection&quot; of Bede&#039;s authoritative account of the Christianization of England, part of an overall rewriting of history to assert an &quot;English homeland,&quot; free of foreign, Latin domination.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262560">
    <dcterms:title><![CDATA[Color Expressions in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that color expressions in TC are elaborately calculated to represent the characteristics of Troilus and Criseyde and that the color terms vary in almost every book.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261869">
    <dcterms:title><![CDATA[Color Symbolism in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, though color words are sparsely used, green, red, blue, white, black are tellingly employed, frequently serving symbolically to connote psychological states of being, sexuality, and emotions, particularly in relation to &quot;eros&quot; and &quot;agape.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270159">
    <dcterms:title><![CDATA[Come Hell or High Water: Aqueous Moments in Medieval Epic, Romance, Allegory, and Fabliau]]></dcterms:title>
    <dcterms:description><![CDATA[Scott addresses use of water imagery in medieval narratives. In MilT, flood imagery affects all classes of society and provides a common experience through which the satire of each individual class can occur.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261771">
    <dcterms:title><![CDATA[Come in Out of the Code: Interpreting the Discourse of Desire in Boccaccio&#039;s Filostrato and Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[In Filostrato, Troilo&#039;s accurate decoding of Criseyde&#039;s language enables him to discover her reciprocal desire, leading to fulfillment.  In TC, fulfillment is more complex as Troilus, Pandarus, and the narrator each construct their own meaning of Criseyde&#039;s desire, seeking to impose it on her and the progress of the love affair.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262540">
    <dcterms:title><![CDATA[Comedy and Tragedy in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Encased in a larger, comic vision of &quot;potential human freedom and happiness,&quot; Troilus&#039;s tragic misfortunes acquire new meaning in Chaucer&#039;s TC, which is neither comedy nor tragedy but a &quot;curious mixture&quot; of the two.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265957">
    <dcterms:title><![CDATA[Comedy for the Cognoscenti: Chaucer&#039;s &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The comedy of MerT is brought out through Chaucer&#039;s manipulation of various literary sources and styles.]]></dcterms:description>
    <dcterms:description><![CDATA[  For readers to appreciate fully the comedy of MerT, they must be familiar with Chaucer&#039;s works, as well as the literary context from which they derive.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272184">
    <dcterms:title><![CDATA[Comedy in Allegory: A Study of Vision and Technique in the Chaucer Tradition from &#039;The Book of the Duchess&#039; to &#039;The Faerie Queene&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Despite the apparent clash between comedy and moral allegory, writers from Chaucer to Spenser combine the two, a fusion rooted in &#039;La Roman de la Rose.&#039;  Treats BD and HF as well as works by Gower, Dunbar, Skelton, and Spenser.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270050">
    <dcterms:title><![CDATA[Comedy in Chaucer and Boccaccio]]></dcterms:title>
    <dcterms:description><![CDATA[Exploring the question &quot;When is Chaucer known in Italy?&quot; Heffernan surveys other scholars who have examined Chaucer&#039;s writings within the Italian tradition and focuses on shared comedic themes in the works of Boccaccio and Chaucer. She reviews historical background of Chaucer&#039;s two trips to Italy in 1373 and 1378 and argues that the trips offered Chaucer a chance for literary exchange, which heavily influenced his fabliaux. Heffernan examines parallel comic tales in the Decameron and CT; Chaucer&#039;s comedy &quot;is not so much derivative of Boccaccio&#039;s as part of a common European comic tradition that both poets inherited and revived&quot; (129).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272710">
    <dcterms:title><![CDATA[Comedy in Chaucer&#039;s Little Tragedy]]></dcterms:title>
    <dcterms:description><![CDATA[Considers TC to be &quot;amphibious,&quot; both a tragedy and, ironically, a comedy, when read in light of Chaucer&#039;s changes to Boccaccio&#039;s &quot;Filostrato&quot; and his additions from Boethius&#039;s &quot;Consolatio.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276542">
    <dcterms:title><![CDATA[Comedy, the Canon, and Medieval Women&#039;s Wit.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores evidence of medieval women&#039;s humor, drawing examples from Margaret Mautby Paston and Margery Kempe, preceded by contemplation of why such humor is understudied. Includes comments on Chaucer&#039;s Wife of Bath, Alisoun of MilT, and May of MerT as instances where &quot;Laughter, here specifically laughing &#039;at,&#039; is a mainstay of medieval (and later) misogyny.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276330">
    <dcterms:title><![CDATA[Comedy.]]></dcterms:title>
    <dcterms:description><![CDATA[A classroom anthology of twelve examples of the literary mode of comedy, including MerT in Nevill Coghill&#039;s modern poetic translation. The volume describes the mode of comedy, offers brief biographies of the writers included, and lists discussion questions for each work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271404">
    <dcterms:title><![CDATA[Comic Illusion and Dark Reality in The Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the &quot;theatricality&quot; of MilT and explores how the comic characteristics of each of the main characters have darker sides, especially in the cases of Nicholas, Alisoun, and Absolon.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262566">
    <dcterms:title><![CDATA[Comic Irony and the Sense of Two Audiences in the &#039;Tale of Gamelyn&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Canterbury tale not written by Chaucer operates both as fabliau and as folk tale, with the relentlessly stupid hero both laughed at by the nobility and empathized with by the bourgeoisie, for whom he represents a triumph of the simple classes over the corrupt judiciary and nobility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275817">
    <dcterms:title><![CDATA[Comic Irony in &quot;The Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Locates comic irony in several religious references and allusions in MilT, especially as they help to characterize Alison, Nicholas, and Absolon; the &quot;final irony&quot; is that the Miller is himself unaware of this irony.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273046">
    <dcterms:title><![CDATA[Comic Medievalism: Laughing at the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Chapter 2, &quot;Scraping the Rust from the Joking Bard: Chaucer in the Age of Wit,&quot; explores the long eighteenth century&#039;s conflicted reception of Chaucerian wit. While Chaucer was perceived as an &quot;originary figure&quot; of the English language as well as an &quot;identifiably  English satirist,&quot; his diction was denigrated for its vulnerability to the uncouth vernacular of its age and to the mutability of the English language itself. Argues that the period&#039;s modernizations of Chaucer were often attempts either to rehabilitate Chaucerian comedy or to posit a comic continuum between the medieval and the Augustan, all the while rescuing the texts&#039; &quot;intrinsic worth&quot; (or &quot;essence,&quot; in a Platonic sense). Contends that the age&#039;s efforts to historicize and modernize Chaucer inevitably pointed up its similarities to and dependence upon the medieval.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265780">
    <dcterms:title><![CDATA[Comic Meter and Rhyme in the &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys critical commentary on Chaucer&#039;s prosody, noting its subordination to commentary on his narrative art.]]></dcterms:description>
    <dcterms:description><![CDATA[  Exemplifies Chaucer&#039;s prosodic virtuosity by demonstrating the colloquial ease that underlies MilT and examining specific instances of comic manipulation of meter, rhyme, and couplet in the tale. ]]></dcterms:description>
    <dcterms:description><![CDATA[  Examines passages in unpunctuated form.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265021">
    <dcterms:title><![CDATA[Comic Perspective in Two Middle English Poems]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Pearl&quot; is a divine comedy which views earthly matters from above with tolerance.  In KnT Chaucer eliminates the flight to the heavens found in &quot;Teseida&quot;; the perspective of Theseus is earthly but still tolerant.  In TC, by contrast, Troilus&#039; ascent has a &quot;contemptus mundi&quot; effect.]]></dcterms:description>
</rdf:Description></rdf:RDF>