<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/271560">
    <dcterms:title><![CDATA[&#039;Sende this Booke Ageyne Hoome to Shirley&#039;: John Shirley and the Circulation of Manuscripts in Fifteenth-Century England]]></dcterms:title>
    <dcterms:description><![CDATA[As part of a larger consideration of John Shirley&#039;s role in English literary culture and canon formation, mentions the presence of several unique Chaucer poems in Shirley&#039;s library.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271670">
    <dcterms:title><![CDATA[&#039;Sentence&#039; and &#039;Solaas&#039; in Special Education: Adapting Chaucer&#039;s Knight&#039;s Tale for Students with Cognitive Impairment]]></dcterms:title>
    <dcterms:description><![CDATA[Explains why and how KnT can and should be integrated into teaching literature or special education students in high school.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262956">
    <dcterms:title><![CDATA[&#039;Sentence&#039; and &#039;Solaas&#039;: Proverbs and Consolation in the &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Frequent proverbs prevent the discovery of true comfort.  The reader is &quot;distanced&quot; from the events in KnT and reminded that true &quot;solaas&quot; is found only through very long, very difficult, and individual struggle.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266821">
    <dcterms:title><![CDATA[&#039;Sethe That Babyl Was Ybuld&#039;: Translation and Dissent in Later Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Explores conflicts between theories and practice of translation from Geoffrey of Monmouth to Thomas Hoccleve, focusing on how Lollard debates about translation provoked orthodox claims that the vernacular was &quot;pestilential.&quot; ]]></dcterms:description>
    <dcterms:description><![CDATA[Assesses in this context Chaucer&#039;s claim to be translating from Latin in TC and his revisions to LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261779">
    <dcterms:title><![CDATA[&#039;Shall&#039; and &#039;Will&#039; in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, &quot;shall&quot; and &quot;will&quot; are important &quot;to the characterization and overall modal texture.&quot;  Chaucer appears to adumbrate John Wallis&#039;s seventeenth-century formula that &quot;shall&quot; expresses the speaker&#039;s determination to perform the intended action, while &quot;will&quot; suggests the limits of the speaker&#039;s power to determine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270097">
    <dcterms:title><![CDATA[&#039;She ensample was by good techynge&#039;: Hermiene Ulrich and Chaucer under Capricorn]]></dcterms:title>
    <dcterms:description><![CDATA[Focusing on the role of Hermiene Ulrich in formulating the modern language curriculum at Queensland in 1911, D&#039;Arcens notes the &quot;frustrating&quot; historical pattern of exclusion of women scholars from medieval studies, particularly Chaucer studies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267421">
    <dcterms:title><![CDATA[&#039;She Gaff Hym Suche a Buffet&#039; : Active Damsels and the Gendered Economy of the Medieval Chivalric Romance]]></dcterms:title>
    <dcterms:description><![CDATA[The romance knight needs chances to prove himself and achieve fame; he must act. The damsel needs words, often to ask for help. Nickinson treats &quot;Beues of Hamtoun,&quot; &quot;The Sowdone of Babylone,&quot; Malory&#039;s Alysaundir episode, KnT, and FranT, with attention to how Chaucer &quot;tweaks the conventions.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265670">
    <dcterms:title><![CDATA[&#039;She Should Have Said No to Walter&#039;: Griselda&#039;s Promise in &#039;The Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines implications of Griselda&#039;s problematic promise of obedience (which she should have rescinded once she realized that it meant consent to the murder of her children) from the perspective of theologians and religious writers such as Aquinas and Wycliffe.  Concludes with a study of &quot;tempten,&quot; &quot;assaien,&quot; and &quot;assaillen.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267411">
    <dcterms:title><![CDATA[&#039;Shot Wyndowe&#039; (Miller&#039;s Tale, 1.3358 and 3695) : An Open and Shut Case?]]></dcterms:title>
    <dcterms:description><![CDATA[Questions the traditional gloss of &quot;shot wyndowe,&quot; arguing that the words refer to a window that opens inward, that is unglazed, and that, in MilT, is a window to a privy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261983">
    <dcterms:title><![CDATA[&#039;Si coume Renart prist Chanticler le coc&#039; and &#039;The Nonnes Preestes Tale&#039;: A Comparison]]></dcterms:title>
    <dcterms:description><![CDATA[The French story is only a part of the larger whole of the fox&#039;s adventure; the English is not, though linked thematically with the Marriage Group.  Love for Pertelote makes Chauntecleer ignore his dream; in the French it is pride.  Narrative intrusions in Chaucer show the teller&#039;s delight in rhetoric.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266463">
    <dcterms:title><![CDATA[&#039;Sic et Non&#039;: Beobachtungen zu Funktion und Epistemologie des Sprichworts bei Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Fourteenth-century nominalist challenges to realism also challenged the universalizing truth of proverbs.  Through his treatment of proverbs in NPT, WBP, and TC, Chaucer contrasts the &quot;sic&quot; of dominant realist discourse with the &quot;non&quot; of nominalist counterdiscourse, sometimes parodically.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267088">
    <dcterms:title><![CDATA[&#039;Sight&#039; in Chaucer: In Relation to William of Ockham&#039;s Idea on Intuition]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes MerT, SNT, and CYT in the context of Ockhamist thought, focusing on physical sight and blindness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268733">
    <dcterms:title><![CDATA[&#039;Sikernesse&#039; and &#039;Fere&#039; in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Throughout TC, the words &quot;sikernesse&quot; and &quot;fere&quot; are repeated and echoed in other words that &quot;complicate their apparently stable meaning.&quot; Thus, the &quot;characters&#039; fear of circumstances&quot; cannot be separated from the &quot;narrator&#039;s fears about the slipperiness of the verbal realm in which he operates. Verbal play operates as a &quot;deterministic undercurrent&quot; as well as a mode of knowing in the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272731">
    <dcterms:title><![CDATA[&#039;Sikernesse&#039; and Fortune in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that both Troilus and Criseyde submit to Fortune in TC by pursuing a form of worldly &quot;sikernesse&quot; (security), reflecting their lack of the awareness advised by Philosophy in Boethius&#039;s &quot;Consolation.&quot; Only after leaving the world does Troilus gain true security, conveying theological wisdom in a manner described in Boccaccio&#039;s &quot;Genealogy of the Gods.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263871">
    <dcterms:title><![CDATA[&#039;Sir Thopas&#039; in the Sixteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Deals with critical testimonies regarding Th by readers and imitators of Chaucer:  Dunbar, ballad composers, the author of &quot;Gamelyn,&quot; Skelton, Warton, Puttenham, &quot;E. K.,&quot; Drayton, Spenser, Harvey, Lyle, Shakespeare, and Speght.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272558">
    <dcterms:title><![CDATA[&#039;Sir Thopas&#039;: An Agony in Three Fits]]></dcterms:title>
    <dcterms:description><![CDATA[Adduces textual and rhetorical evidence to show that Tho divides into three fits of proportionately diminishing size: eighteen stanzas, nine stanzas, and four and one-half stanzas, achieving a &quot;mathematical harmony of form.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265039">
    <dcterms:title><![CDATA[&#039;Sire Knyght, heer forth ne lith no wey?&#039;: A Reading of Chaucer&#039;s &#039;The Wife of Bath&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The action of WBT reveals the knight-protagonist&#039;s consistent virility, emotional shallowness, and opportunism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273173">
    <dcterms:title><![CDATA[&#039;Sire Nonnes Preest&#039;--Reading Lancelot in Geoffrey Chaucer&#039;s &#039;The Nun&#039;s Priest&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Prioress&#039;s portrait in GP and NPT both draw from aspects of the Lancelot story. The Prioress partially models her own life on that of Guinevere without the full religious conversion that Guinevere undergoes after the death of Arthur. The Nun&#039;s  Priest functions as a kind of Lancelot, but he also fails fully to abandon secular concerns.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262442">
    <dcterms:title><![CDATA[&#039;Sires, By Youre Leve, That Am Nat I&#039;: Romance and Pilgrimage in Chaucer and the &#039;Gawain/Morgne&#039; Poet]]></dcterms:title>
    <dcterms:description><![CDATA[Draws contrasts between Sir Gawain, who attempts to act the part of standard knight of romance, and the protagonists of WBT and MerT.  The Wife sets her tale in the medieval antifeminist matrix; the Merchant, building on her insight, mingles romance, fabliau, and clerical opinion while representing his characters as accepting stereotypes imposed on them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261791">
    <dcterms:title><![CDATA[&#039;Sith&#039; and &#039;Syn&#039; in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer uses the word &quot;syn&quot; in TC ninety-nine times; the word &quot;sith,&quot; thirty-one times.  The former not only designates &quot;since,&quot; but also reinforces the morality--or lack thereof--in the poem.  The final &quot;syn&quot; clause is connected with Christ to remind the audience that love of Christ overpowers sin.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266712">
    <dcterms:title><![CDATA[&#039;Slyding&#039; Masculinity in the Four Portraits of Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[The characterization of the male hero in the four portraits of Troilus exhibits &quot;gender slippage&quot; through &quot;linguistic slippage.&quot;  The second and third portraits show Chaucer subverting gender assumptions, while the other two are more &quot;essentialized&quot; depictions of masculinity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265126">
    <dcterms:title><![CDATA[&#039;Slydinge of Corage&#039;: Chaucer&#039;s Criseyde as Feminist and Victim]]></dcterms:title>
    <dcterms:description><![CDATA[Although the heroine speaks bravely in TC of being her &quot;owene womman,&quot; Chaucer&#039;s &quot;would-be feminist&quot; is continually victimized by the male-dominated society largely responsible for her limited views about sexual roles.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268737">
    <dcterms:title><![CDATA[&#039;Slydynge&#039; Critics: Changing Critical Constructions of Chaucer&#039;s Criseyde in the Past Century]]></dcterms:title>
    <dcterms:description><![CDATA[A decade-by-decade evaluative overview of critical perspectives on Criseyde throughout the twentieth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265763">
    <dcterms:title><![CDATA[&#039;So Is Flesh&#039; or &#039;El Amor Loco del Mundo&#039; in G. Chaucer and Juan Ruiz]]></dcterms:title>
    <dcterms:description><![CDATA[Perhaps because of their proximity in time (fifty years apart), Chaucer and the &quot;Arcipreste de Hita&quot; present love in similar ways.  Both depict lovers&#039; laments, the pleasures of the flesh, nuns willing to have love affairs, and so forth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262515">
    <dcterms:title><![CDATA[&#039;So Sely an Avisyon&#039;: Chaucer&#039;s &#039;House of Fame&#039; as Comic Monologue]]></dcterms:title>
    <dcterms:description><![CDATA[HF might best be perceived &quot;as a comic monologue, as a series of jokes with comic business instead of a controlling theme.&quot;  It is thus closer in tone and intent to W. S. Gilbert than to Dante or Boethius.]]></dcterms:description>
</rdf:Description></rdf:RDF>