<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/271745">
    <dcterms:title><![CDATA[The Chaucerian Narrator in Spenser&#039;s &#039;Shepheardes Calendar&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s influence on Edmund Spenser&#039;s &quot;Shepheardes Calendar&quot; is &quot;deeper and far more extensive&quot; than previously recognized. In particular, manipulations of the &quot;hidden narrator&quot; in Spenser are similar to similar techniques in CT and LGW, and Spenser&#039;s &quot;concern with poetry and love&quot; parallels the similar concern found among the dream-vision narrators of BD, PF, HF, and LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271744">
    <dcterms:title><![CDATA[The Degradation of Chaucer&#039;s &#039;Geffrey&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Articulates various &quot;levels of perception&quot; manipulated by Chaucer to create comic irony through his personae in BD, HF, PF, LGW, and CT. The &quot;Chaucerian pose&quot; is relatively constant in the early poems where the narrator is a &quot;reasonable man&quot; (but &quot;no more than this&quot;) whose common sense sets a standard by which the audience is guided to higher perception. In CT Chaucer &quot;takes himself down a peg&quot; by declaring his ignorance, thereby intensifying comedy through increasing caricature. Such self &quot;degradation&quot; indicates the personality of the poet.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271743">
    <dcterms:title><![CDATA[What Chaucer Really Did to &#039;Le Livre de Melibee&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in translating Renaud de Louens&#039;s &quot;Le Livre de Mellibee&quot; in his own Mel, Chaucer created an &quot;overtly rhetorical style for purposes of parody.&quot; Probably an expansion of an earlier, abridged translation by Chaucer, Mel is characterized by sonic repetitions, amplifications, and overt rhythms that show the narrator to be &quot;bumbling&quot; and, in turn, help characterize the Host as a flawed critic. Mel contributes to the Marriage Group and the Literature Group of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271742">
    <dcterms:title><![CDATA[Boethius, Chaucer, and &#039;The Kingis Quair&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads &quot;The Kingis Quair&quot; as a &quot;direct response&quot; to Boethius&#039;s &quot;Consolation of Philosophy&quot; and to TC and KnT, taking up their concerns with Fortune. &quot;Quair&quot; shares the concern with worldly love found in Chaucer&#039;s two poems, although it presents love as a means to transcend fortune without the world denying aloofness required in Boethius&#039;s treatise and echoed in Chaucer&#039;s poems.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271741">
    <dcterms:title><![CDATA[Dz. Coseris ir Prerenesanso Problems [G. Chaucer and the Problem of the Pre-Renaissance]]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the ways in which Chaucer anticipates features of Renaissance literature, focusing on realism and ideas of humanity in TC and CT, but also commenting on satire in PF and parody in Thop. In Lithuanian, with summaries in Russian and English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271740">
    <dcterms:title><![CDATA[Meter and Rhythm of Pre-Chaucerian Rhymed Verse]]></dcterms:title>
    <dcterms:description><![CDATA[English version of an essay originally published in Russian in &quot;Voprosy Jazykoznanija&quot; 3 (1971): 73-88. Tabulates and assesses metrical features of several Middle English poems, including several by Chaucer, exploring the development of English prosody from Old English verse to Coleridge and Shelley. Chaucer&#039;s early verse differs from preceding ME poetry in its &quot;uniform number of ictuses per line&quot; and its &quot;almost complete identity of syllabic intervals between ictuses&quot;; it is  characteristically &quot;syllabo-tonic.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271739">
    <dcterms:title><![CDATA[Genres and Themes: A Reaction to Two Views of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews two books about Chaucer: &quot;Language of Chaucer&#039;s Poetry: An Appraisal of Verse, Style and Structure&quot; by Norman E. Eliason; and &quot;Disembodied Laughter: &#039;Troilus&#039; and the Apotheosis Tradition&quot; by John M. Steadman.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271738">
    <dcterms:title><![CDATA[The &#039;Reeve&#039;s Tale&#039; as a Fabliau]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in its concern with social pretension and its atmosphere of &quot;game and contest,&quot; RvT is better regarded as a comic fabliau than as a tale of vengeance that reflects its teller. Compares and contrasts RvT with several fabliaux, including &quot;Berangier au lonc cul,&quot; &quot;Le Meunier et les deux clers,&quot; and Chaucer&#039;s own.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271737">
    <dcterms:title><![CDATA[The Paradox of Form: &#039;The Knight&#039;s Tale&#039; and Chaucerian Aesthetics]]></dcterms:title>
    <dcterms:description><![CDATA[Several features of KnT indicate that the rules and forms of chivalry can dignify conduct but at the same time threaten to overwhelm or undercut what they are intended to achieve. Similar threats of form overwhelming content are evident in the tale&#039;s treatment of time, its overt structural patterning, its uses of &quot;occupatio,&quot; and its offering of aesthetic order in place of divine perfection.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271736">
    <dcterms:title><![CDATA[Chaucer&#039;s Troilus and Self-Renunciation in Love]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Troilus&#039;s &quot;altruistic love&quot; of Criseyde to be one of the &quot;outstanding examples in late medieval romance&quot; of &quot;self-abnegating love,&quot; i.e., &quot;placing another&#039;s good before one&#039;s own.&quot; Troilus&#039;s hesitancy to act is a manifestation of this idealized self-renunciation, &quot;carefully bound up with his fatalism and his vanity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271735">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039; and the Rhythm of Experience in Keats&#039;s &#039;What can I do to drive away&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies John Keats&#039;s early references and allusions to TC in his letters to Fanny Brawne and assesses how his lyric &quot;What can I do to drive away&quot; follows Chaucer&#039;s poem in representing the &quot;rhythmic experience of pain passing into sweetness and sweetness into pain.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271734">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;House of Fame&#039;: England&#039;s Earliest Science Fiction]]></dcterms:title>
    <dcterms:description><![CDATA[Reads HF as an example of science fiction, focusing on its presentation of acoustics and commenting on its recurrent use of &quot;scientific or pseudo-scientific explanations.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271733">
    <dcterms:title><![CDATA[The Parody of Medieval Music in the &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;pervasive tone&quot; of MilT as &quot;comic irony&quot; and explores how musical imagery contributes to this tone, especially through incongruous juxtapositions of profundity and profanity. Includes discussion of Nicholas&#039;s Annunciation song (&quot;angelus&quot;) and psaltery, the sexual melody-making of Nicholas and Alison, and Absolon&#039;s serenade, which is replete with echoes of the &quot;Canticum Canticorum&quot; (Song of Songs).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271732">
    <dcterms:title><![CDATA[Action and Passion in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that TC &quot;gains psychological interest and what may be called a novelistic effect&quot; through adaptation of the &quot;to do and to suffer&quot; topos. Troilus is &quot;a man of passion who suffers,&quot; Pandarus is &quot;a man of action who contrives,&quot; and Criseyde &quot;alternately suffers and acts,&quot; seeking to act without ever achieving agency.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271731">
    <dcterms:title><![CDATA[Chaucer&#039;s Book of the Duchess, 330]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the allusion to Jason and Medea in BD 330 as a &quot;subliminal&quot; anticipation of lines 722-27.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271730">
    <dcterms:title><![CDATA[Chaucer&#039;s Nun&#039;s Priest Tale, B2. 4552-63]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the comic and aural effects of the allusions to Hasdrubales&#039;s wife and to Nero in NPT (7.3362-73), focusing on Pertelote and the other female chickens.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271729">
    <dcterms:title><![CDATA[Chaucer&#039;s Canterbury Tales General Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplifies Chaucer&#039;s &quot;control of proportion&quot; of details in GP, observing a &quot;middle-class tendency to conformity&quot; in the generalized description of the Guildsmen.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271728">
    <dcterms:title><![CDATA[Chaucer&#039;s The Tale of Sir Thopas]]></dcterms:title>
    <dcterms:description><![CDATA[Observes sexual associations of the names &quot;Thopas&quot; and &quot;Olifaunt&quot; and in this light glosses &quot;drasty&quot; (7.923 and 930) as &quot;filthy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271727">
    <dcterms:title><![CDATA[Chaucer&#039;s Wife of Bath&#039;s Prologue D.608]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the punning and aural effects of Chaucer&#039;s use of &quot;quoniam&quot; in WBP 3.608 and cites similar verbal play in RvT 1.3973-76.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271726">
    <dcterms:title><![CDATA[Chaucer&#039;s Nun&#039;s Priest&#039;s Tale, VII. 3160-71]]></dcterms:title>
    <dcterms:description><![CDATA[Explains that Chauntecleer is motivated by lust when he flies down from the beam after his dream of danger.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271725">
    <dcterms:title><![CDATA[Chaucer and Literary Criticism]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews Ian Robinson&#039;s book, &quot;Chaucer and the English Tradition&quot; (1972), with commentary on various critical works published between 1950 and 1972.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271724">
    <dcterms:title><![CDATA[Chaucer&#039;s Franklin and His Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Characterizes the Franklin in light of his social status, administrative and judicial offices, his &quot;Epicurean concern for externals,&quot; and his association with the Sergeant at Law. Then reads FranT as an ironic indictment of the narrator&#039;s foolish attitudes toward gentility, love, and marriage, focusing on tale&#039;s adaptations of the Amis section of the &quot;Roman de la Rose&quot; and Boethius&#039;s &quot;Consolation,&quot; and its relations with other tales of the marriage group.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271723">
    <dcterms:title><![CDATA[The Manciple&#039;s Manner of Speaking]]></dcterms:title>
    <dcterms:description><![CDATA[Shows how concern with lack of &quot;self-control in speech&quot; unifies ManP and ManT, especially in its traditional association with anger, one of the &quot;sins of the tongue.&quot; The theme also occurs in SumT and MerT, but it is presented with greater &quot;subtlety&quot; in ManPT, where indiscreet speaking drives the plot and unrestrained cynicism characterizes the narrator. Chaucer approves of the Manciple&#039;s &quot;skill with words,&quot; but not his lack of scruples.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271722">
    <dcterms:title><![CDATA[Double Meanings: I. &#039;Double Entendre&#039; in &#039;The Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Comments in critics&#039; &quot;pun-hunting&quot; in Chaucer&#039;s works and describes two kinds of bawdy puns in MilT (those that carry connotations of subtlety and secrecy and those that connote pleasure and entertainment), tracing their complex interrelations and admiring Chaucer&#039;s skill and wit.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271721">
    <dcterms:title><![CDATA[Does the Manciple&#039;s Prologue Contain a Reference to Hell&#039;s Mouth?]]></dcterms:title>
    <dcterms:description><![CDATA[Documents various &quot;medieval representations of Hell&#039;s Mouth,&quot; and suggests that the example in ManP (9.35-40) complements the concern with Last Judgment in ParsP.]]></dcterms:description>
</rdf:Description></rdf:RDF>