<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/263275">
    <dcterms:title><![CDATA[Criseyde&#039;s Choices]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes TC 2.449-62, 3.568-81, and 5.1016-29 to show syntactically &quot;the process by which Criseyde exercises her will, makes a choice, without acknowledging (it)...while preserving her image...as a passive instrument of forces greater than herself&quot; (&quot;a profound investment in inexactitude and the obscuring of causes&quot;), and convinces herself that she has no choice but to do what she wants to do.]]></dcterms:description>
    <dcterms:description><![CDATA[Pearsall examines the contemporary debate on free will and predestination and concludes, &quot;Criseyde has only the illusion of this freedom.&quot;  Criseyde is also compared with Griselda and Constance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271953">
    <dcterms:title><![CDATA[Criseyde&#039;s Descriptions and the Ethics of Feminine Experience]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests Chaucer&#039;s portrayal of Criseyde challenges the &quot;traditional &#039;descriptio&#039; as a restrictive benchmark of feminine beauty.&quot; Describes Criseyde&#039;s transformations in TC as an &quot;experiential journey through love and war.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262006">
    <dcterms:title><![CDATA[Criseyde&#039;s Dream of the Eagle: Love and War in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Foreshadowing submission to Troilus and Diomede, Criseyde&#039;s erotic dream of the eagle symbolizes her fear of man&#039;s aggressive nature and her belief in love&#039;s ennobling influence.  Throughout the poem love modifies the worst in Troilus, the warrior, inspiring moral virtues.  Tragically love cannot resist war&#039;s greater aggression.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264270">
    <dcterms:title><![CDATA[Criseyde&#039;s Heart and the Weakness of Women: An Essay in Lexical Interpretation]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the phrase &quot;slydynge of corage&quot; used to characterize Criseyde&#039;s moral character refers to &quot;infirmity of resolve&quot; but also involves unstable affections.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265504">
    <dcterms:title><![CDATA[Criseyde&#039;s Honor: Interiority and Public Identity in Chaucer&#039;s Courtly Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Criseyde&#039;s status as a widow and her self-conscious concern with her &quot;honour&quot; and &quot;estat&quot; help characterize her as someone &quot;concerned with maintaining herself and her household as independent units.&quot;  Her inconstancy is a rational response to her social and political context.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262014">
    <dcterms:title><![CDATA[Criseyde&#039;s Indirections]]></dcterms:title>
    <dcterms:description><![CDATA[Criseyde protects herself from self-knowledge by distancing indirections--dream, pun, reference to the dead husband, etc.--which still tell the truth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272933">
    <dcterms:title><![CDATA[Criseyde&#039;s Infidelity and the Moral of the &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Characterizes Criseyde in TC as a good, even perfect, courtly heroine until she is unfaithful to Troilus, a result of the very human &quot;weakness in the face of death.&quot; More than does Boccaccio in &quot;Filostrato,&quot; Chaucer creates a sense of inevitability about events in his poem, including Criseyde&#039;s infidelity, and reinforces it with dramatic irony. As a result, when Criseyde chooses dishonor before death or loneliness, her infidelity conveys the transience of all worldly love and happiness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261780">
    <dcterms:title><![CDATA[Criseyde&#039;s Inner Debate: The Dialectic of Enamorment in the &#039;Filostrato&#039; and the &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the rhetoric of the passages in &quot;Filostrato&quot; and TC in which Criseyde first sees Troilus outside her window.  Chaucer combines his own &quot;fictional vision&quot; with rhetorical and narrative conventions drawn from Ovid and romance to create the illusion of &quot;complex consciousness,&quot; an essential aspect of psychological characterization.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271817">
    <dcterms:title><![CDATA[Criseyde&#039;s Last Word]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Criseyde&#039;s &quot;slipperiness and unreliability&quot; in TC, focusing on her last letter to Troilus, which is &quot;Chaucer&#039;s own addition,&quot; as a way of understanding her character.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262790">
    <dcterms:title><![CDATA[Criseyde&#039;s Oaths of Love: Do They Really Belong to the Tradition of Lying-Songs?]]></dcterms:title>
    <dcterms:description><![CDATA[Susan Schibanoff (JEGP, 1977) is in error when she argues that the &quot;impossibilia&quot; testifying to Criseyde&#039;s love (TC 3.1492-98) suggests the medieval genre of the antifeminist lying-song.  Rather, such &quot;impossibilia&quot; belong in a courtly context, and the audience would have understood them as sincere.  Their recurrence in Bk. 5 shows &quot;how much unfailing love has failed.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268720">
    <dcterms:title><![CDATA[Criseyde&#039;s Poem: The Anxieties of the Classical Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Against the backdrop of two of his own studies exploring the classical roots of TC, Fleming argues that Chaucer subverts gender stereotypes and the force of literary tradition as much as he can by giving Criseyde a measure of agency and by depicting Deiphoebus as betrayed not by Helen but by Pandarus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268396">
    <dcterms:title><![CDATA[Criseyde&#039;s Prudence]]></dcterms:title>
    <dcterms:description><![CDATA[In her &quot;active suffering,&quot; Criseyde reflects a Boethian notion of agency. In her prudential counseling of Troilus, she properly dissuades him from &quot;treasonable elopement in time of war.&quot; The article explores how Criseyde&#039;s advice to Troilus and her later commentary on Prudence (TC 5.744-49) reflect her fundamental &quot;trouthe.&quot; McAlpine contrasts Criseyde&#039;s perspectives with those of Troilus, Calkas, and Cassandra to disclose Chaucer&#039;s anxieties about how knowledge of the future can distort ethical judgment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265118">
    <dcterms:title><![CDATA[Criseyde&#039;s Rein]]></dcterms:title>
    <dcterms:description><![CDATA[The germ of Chaucer&#039;s phrase &quot;and by the reyne hire hente&quot; is found in Benoit&#039;s &quot;Roman de Troie.&quot;  Benoit uses a similar phrase four times.  This is further evidence that Chaucer was conflating Boccaccio and Benoit.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267245">
    <dcterms:title><![CDATA[Criseyde&#039;s Remains : Romance and the Question of Justice]]></dcterms:title>
    <dcterms:description><![CDATA[Considers how &quot;history becomes the unconscious of romance&quot; in TC. Criseyde is pronounced dead at the opening of the work (1.56) but does not die in the story; as a &quot;symptom of the poem&#039;s disavowal of history and materiality, she also marks its radical undecidability.&quot; She does die in Henryson&#039;s anti-romance, &quot;Testament of Cresseid&quot;--in a fantasy of justice that depends on time, a promise &quot;that it is never yet what it will have been.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274237">
    <dcterms:title><![CDATA[Criseyde&#039;s Swoon and the Experience of Love in &quot;Trolius [sic] and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that moral and psychological interpretations of TC--readings that judge the characters and those that empathize with their experiences--are &quot;not as incompatible as their adherents would have us believe.&quot; Chaucer&#039;s rich depictions of his protagonists&#039; complex agencies compel us to recognize that the two interpretive perspectives are interdependent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275409">
    <dcterms:title><![CDATA[Criseyde&#039;s Two Half Lovers.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Criseyde&#039;s character in light of Carl Jung&#039;s theory of the nature of love as a &quot;result of the incomplete human soul seeking its complement&quot;--the &quot;anima&quot; seeking its &quot;animus.&quot; Troilus&#039;s failure to act disappoints Criseyde&#039;s courtly expectations, and his &quot;weaknesses are precisely the same as hers,&quot; while her &quot;reluctance to act&quot; leads to her betrayal with Diomede and her tragic Christian fall.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268444">
    <dcterms:title><![CDATA[Criseyde/Cresseid/Cressida: What&#039;s in a Name?]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Shakespeare&#039;s Cressida to be a &quot;delicate literary graft&quot; of the ambiguous aloofness of Chaucer&#039;s Criseyde and the &quot;frankness personified&quot; of Henryson&#039;s Cresseid.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277563">
    <dcterms:title><![CDATA[Crisis and Ambivalent Futures in Middle English Romance.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores relations among &quot;crisis, ambivalence, and futurity,&quot; focusing on TC and &quot;Amis and Amiloun,&quot; &quot;assessing Criseyde&#039;&#039;s ambivalence about returning to Troy as &quot;an affective correlative of crisis&quot; and Amis&#039;s ambivalence about the sacrificial killing of his children for ways that it &quot;eludes the putatively determinative logics of moral causality and biological inheritance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261504">
    <dcterms:title><![CDATA[Critic and Poet: What Lydgate and Henryson Did to Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the writers&#039; approaches to their source in Chaucer: Lydgate as a &quot;scholarly commentator&quot; and Henryson as a poet who exploits &quot;Chaucer&#039;s innovative literary devices&quot; in an original way.                                                                                                              ]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Daniel J. Pinti, &quot;Writings After Chaucer&quot; (New York and London: Garland, 1998), pp. 227-41.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270465">
    <dcterms:title><![CDATA[Critical and Fictional Pairing]]></dcterms:title>
    <dcterms:description><![CDATA[Reads C. S. Lewis&#039;s essay on TC, &quot;What Chaucer Really Did to &#039;Il Filostrato&#039;&quot; (1932), as an index to how Lewis adapted H. G. Wells&#039; novel &quot;The First Men in the Moon&quot; in his own &quot;Out of the Silent Planet.&quot; Because of Chaucer&#039;s changes to Boccaccio&#039;s &quot;Filostrato,&quot; we know that &quot;in a real sense the subject&quot; of TC &quot;is Courtly Love.&quot; Similarly, Lewis&#039;s changes to Wells indicate that he was concerned with the theme of conversion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275756">
    <dcterms:title><![CDATA[Critical Approaches to Medieval Literature: Selected Papers from the English Institute, 1958-59.]]></dcterms:title>
    <dcterms:description><![CDATA[Six essays by various authors and a summary Introduction by the editor. For five essays that pertain to Chaucer, search for Critical Approaches to Medieval Literature under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262158">
    <dcterms:title><![CDATA[Critical Approaches to the &#039;Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Between 1910 and 1952, attitudes toward ClT were overtly hostile.  Since 1952, however, criticism has been &quot;apologetic in nature,&quot; with teacher-critics constructing &quot;Christian allegorical,&quot; philosophical, psychological, and political readings &quot;to make the tale somehow acceptable.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262189">
    <dcterms:title><![CDATA[Critical Approaches to the &#039;Man of Law&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Noting that MLT has often been apologized for or ignored, Edwards surveys critical approaches to the tale:  the date of its composition, its place in the Canterbury sequence, source study, biography, narrative voice, the problem of Constance, allegory, and gender criticism.  Only Morton Bloomfield has made a  &quot;notable attempt to address the &#039;Tale&#039;s problems...in Christian terms.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262222">
    <dcterms:title><![CDATA[Critical Approaches to the &#039;Prioress&#039;s Tale&#039; and the &#039;Second Nun&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Similar in context and form, SNT and PrT have evoked critical commentary on historical background, sources, and analogues. However, PrT has sparked more consistent and recent interest, in part because of the Prioress&#039;s personality, her relationship to the narrative itself, and the tale&#039;s anti-Semitism.  Collette suggests that new historical, textual, and feminist criticism might illumine both tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262296">
    <dcterms:title><![CDATA[Critical Communities and the Shape of the Medievalist&#039;s Desire: A Response to Judith Ferster and Louise Fradenburg]]></dcterms:title>
    <dcterms:description><![CDATA[Ferster&#039;s and Fradenburg&#039;s essays problematize the critical act of reading medieval texts:  Ferster&#039;s examination of &quot;who speaks&quot; in PrT extends to the critic&#039;s own voice; Fradenburg&#039;s articulation of medievalists&#039; anxieties concerning the status of a lost past reveals the political effects of viewing scholarship as restorative. ]]></dcterms:description>
    <dcterms:description><![CDATA[The implications of both essays could be extended by constructing an external history of the discipline of medieval studies.]]></dcterms:description>
</rdf:Description></rdf:RDF>