<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/271052">
    <dcterms:title><![CDATA[&#039;So was thys castell layd wyde open&#039;: Battles for the Phallus in Early Modern Responses to Chaucer&#039;s Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on John Heywood&#039;s &quot;The Foure PP&quot; and on the &quot;Tale of Beryn&quot; for their uses of the figure of the &quot;Chaucerian Pardoner&quot; and his &quot;irreducible ambiguity&quot; as a means to explore the &quot;rule of the phallus&quot; and the ways that each of the two texts &quot;situate its gender disruptions in a context of power relations&quot; appropriate to its own historical period.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269592">
    <dcterms:title><![CDATA[&#039;So wel koude he me glose&#039;: The Wife of Bath and the Eroticism of Touch]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys medieval commentary on women&#039;s enjoyment of sex, noting that sexual pleasure distinguishes Alisoun&#039;s marriage to Jankyn in WBP--a result of Jankyn&#039;s ability to read his wife&#039;s body like a text. Niebrzydowski contrasts Alisoun&#039;s sexual pleasure with that of May in MerT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271172">
    <dcterms:title><![CDATA[&#039;Som deyntee thyng&#039;: Poetry and Possibility in Chaucer&#039;s &#039;Tale of Sir Thopas&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Th and its narrator&#039;s dialogue with the Host as Chaucer&#039;s commentary on gender, vernacularity, and the public role of the poet in his contemporary world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267729">
    <dcterms:title><![CDATA[&#039;Songes . . . qui ne sont mie mencongier&#039; : Historical Context and Fictional Truth in Dream Poetry from the Time of the Hundred Years War]]></dcterms:title>
    <dcterms:description><![CDATA[Dream poems by Machaut, Froissart, and Chaucer share not only the dream frame device but also historical-political content communicated in the language of love poetry. Love, war, and politics combined show change and a model of order.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273181">
    <dcterms:title><![CDATA[&#039;Sound this angrie message in thine eares&#039;: Sympathy and the Translations of the &#039;Aeneid&#039; in Marlowe&#039;s &#039;Dido Queene of Carthage&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In both HF and LGW Chaucer adapts the story of Dido in a way that does not exclusively privilege Virgil&#039;s text. Though Gavin Douglas objects to Chaucer&#039;s &quot;Legend of Dido&quot; in his translation of the &quot;Aeneid&quot; (providing a humanistic model of reading Virgil to counter Chaucer&#039;s), Marlowe was ultimately &quot;drawn closer to the hermeneutic intermingling of the Chaucerian model&quot; in his play &quot;Dido Queene of Carthage.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265659">
    <dcterms:title><![CDATA[&#039;Space to Speke&#039;: The Wife of Bath and the Discourse of Confession]]></dcterms:title>
    <dcterms:description><![CDATA[Root draws on selected primary and secondary sources to illustrate that WBP was influenced by the doctrine of mandatory confession decreed by the Fourth Lateran Council of 1215.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272535">
    <dcterms:title><![CDATA[&#039;Spek wel of love&#039;: The Role of Women in Chaucer&#039;s &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads LGW as an ironic, comic poem that offers a positive view of women in LGWP and in the legends themselves.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266843">
    <dcterms:title><![CDATA[&#039;Speketh So Pleyn&#039;: Elements of the Realist/Nominalist Debate in Selected &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Analysis of WBPT, FrT, SumT, ClT, FranT and Ret indicates that Chaucer was &quot;a realist with regard to religion and a nominalist with regard to language and epistemological issues.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264115">
    <dcterms:title><![CDATA[&#039;Spiced Conscience&#039; in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The reflexive &quot;maken&quot; (&quot;to pretend&quot;) is studied in a discussion of the conscience of the Prioress, the Parson, the Pardoner, Griselda, Friar John, and the Wife of Bath.  &quot;Spiced conscience&quot; means &quot;tender feeling,&quot; or &quot;hypocritical religiosity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272599">
    <dcterms:title><![CDATA[&#039;Storie,&#039; &#039;Spelle,&#039; &#039;Geste,&#039; &#039;Romaunce,&#039; &#039;Tragedie&#039;: Generic Distinctions in the Middle English Troy Narratives]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies the ways in which various genre terms are used in Middle English narratives about Troy, including TC where &quot;tragedie&quot; is consistently applied to the narrative. Comments on Latin and French usage and on terms applied to Chaucer&#039;s other works to help clarify nuances of the various individual labels.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272732">
    <dcterms:title><![CDATA[&#039;Straw for Youre Gentilesse&#039;: The Gentle Franklin&#039;s Interruption of the Squire]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the Franklin&#039;s interruption of the Squire in Part 4 of CT to be a &quot;brilliant dramatic vignette&quot; that develops the characterizations of the Squire, Franklin, and Host.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268125">
    <dcterms:title><![CDATA[&#039;Straw for Youre Gentillesse!&#039;: Masculine Identity, Honor, and Dorigen]]></dcterms:title>
    <dcterms:description><![CDATA[Dorigen of FranT is &quot;more important as a figure that reflects back on men and their desires than as a distinct character in herself.&quot; Englade applies Georges Bataille&#039;s &quot;expenditure&quot; theory to show that there is &quot;no place for Dorigen within the bonds men form with each other&quot; and that men&#039;s efforts at pursuing honor divide them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265505">
    <dcterms:title><![CDATA[&#039;Streght to My Matere&#039;: Rereading Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[A psychoanalytic analysis suggesting parallels between the &quot;scopophilic&quot; instinct represented in TC and the &quot;extreme intertextuality&quot; of the poem.  Both are forms of the Oedipal complex whereby Criseyde, although she is finally unknowable, is for both Troilus and the narrator a &quot;happy substitute&quot; for the mother; Pandarus and Lollius are approving fathers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261752">
    <dcterms:title><![CDATA[&#039;Such Stuff As Dreams Are Made On&#039;: The Poetics of Narrative Voice in Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s handling of the dreamer-narrator of BD proves sensitive and subtle in its exploration of genre, irony, tension, and artistic capability; the poem foreshadows Chaucer&#039;s later mastery.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271542">
    <dcterms:title><![CDATA[&#039;Sum Moribundus&#039;: Prolegomenal Forays into the Realm of Despair]]></dcterms:title>
    <dcterms:description><![CDATA[Considering such works as &quot;Sir Gawain and the Green Knight,&quot; Shakespeare&#039;s &quot;Troilus and Cressida,&quot; and PardPT, the author identifies finitude and nothingness as the roots of despair in late medieval and early modern works, as well as in modern theory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266700">
    <dcterms:title><![CDATA[&#039;Sundrie Doubts&#039;: Vulnerable Understanding and Dubious Origins in Spenser&#039;s Continuation of the &#039;Squire&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Spenser&#039;s appeal to Chaucer and his continuation of SqT as an aspect of the Renaissance poet&#039;s doubt about his place in English poetry.  Chaucer &quot;revels in the multiplication of doubt,&quot; but Spenser sought to work out his doubts about his poetry and his career.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265675">
    <dcterms:title><![CDATA[&#039;Superfluous Ribaldry&#039;: Spurious Lines in the &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Certain ribald but spurious lines added to the pear-tree episode and printed by Caxton in 1478 helped to shape readers&#039; attitudes toward Chaucer for three centuries, until Tyrwhitt removed them in 1775.  The lines are probably the work of a scribe who had read Chaucer attentively (for they have a &quot;Chaucerian&quot; flavor), acting as &quot;tabloid journalist&quot; and providing a coarse and stereotypical ending to a dark tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264599">
    <dcterms:title><![CDATA[&#039;Sustres and paramours&#039;: Sexe et domination dans les &#039;Contes de Cantorbery&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[NPT illustrates the alternation of sexual dominance in CT.  The Priest among his nuns is like Chanticleer, &quot;paragon des phallocrates,&quot; among his wives.  But neither maintains dominance.  Moreover, in NPT, as in CT as a whole, questions of sexual domination are ultimately transcended.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262486">
    <dcterms:title><![CDATA[&#039;Sweete Wordes&#039; of Nonsense: The Deconstruction of the Moral &#039;Melibee&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Mel and Th function together to create a game that shows and explores how author and audience together manipulate and receive language in the creation of a text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271797">
    <dcterms:title><![CDATA[&#039;Swete Cordyall&#039; of &#039;Lytterature&#039;: Some Middle English Manuscripts from the Cloister]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses monastic libraries and scribal communities where texts could be &quot;copied and translated without repercussions behind the monastic walls of England.&quot; Also reveals how demand for vernacular writing increased in female convents. Section 2, &quot;Monastic Manuscripts of Chaucer: Literary Excellence under Religious Rule,&quot; links Chaucer&#039;s works, including PF, Astr, Bo, and CT, to Augustinian, Benedictine, and Carthusian monastery collections, and to &quot;the nuns of Syon.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264808">
    <dcterms:title><![CDATA[&#039;Swich fyn...swych fyn&#039;: Senses of Ending in Chaucer and Spenser]]></dcterms:title>
    <dcterms:description><![CDATA[Both Chaucer and Spenser make use of the qualified or unresolved ending.  The outer limit of Chaucer&#039;s work is doctrine.  Spenser seems to hold out hope for absolute vision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265952">
    <dcterms:title><![CDATA[&#039;Swiche Olde Lewed Wordes&#039;: Books about Medieval Love, Medieval Books about Love and the Medieval Book of Love]]></dcterms:title>
    <dcterms:description><![CDATA[Intertextual references in MerT invite recourse to medieval commentators on the Song of Solomon.  ]]></dcterms:description>
    <dcterms:description><![CDATA[  The glosses on Solomon suggest views of medieval marriage and sexuality different from those of either C. S. Lewis or Michel Foucault.]]></dcterms:description>
    <dcterms:description><![CDATA[  They provide a complex idea of Aristotelian &quot;causes&quot; of love, resisting the opposition of &quot;literal&quot; sexuality to &quot;spiritual&quot; sense that D. W. Robertson and David Aers have, in different ways, applied to Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271111">
    <dcterms:title><![CDATA[&#039;Symposiacus Chaucer: &#039;περi των συμπóςιων η περi των óντών&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys philosophical feasts or &quot;lunches&quot; (symposia) in classical literature and traces the motif in Old and Middle English texts, commenting on the &quot;metaphorical reality of Chaucer&#039;s non-existing banquet&quot;--the Host&#039;s promised meal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264194">
    <dcterms:title><![CDATA[&#039;Synne Horrible&#039;: The Pardoner&#039;s Exegesis of His Tale, and Chaucer&#039;s]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews Augustinian criticism of R. P. Miller, B. F. Huppé, Lee W. Patterson, G. L. Kittridge, and D. W. Robertson.  The Pardoner criticizes the church that licenses him for its follies and corruption.  His performance is considered a &quot;social gaffe, a joke in bad taste,&quot; and he is &quot;the first exegetical critic of his own tale.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265071">
    <dcterms:title><![CDATA[&#039;Taillynge Ynough&#039;: The Function of Money in the &#039;Shipman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In ShT money corrupts marriage and brotherhood, but it effects a relationship between the merchant and his wife.  Hence money is both good and evil, but its effects are unpredictable.]]></dcterms:description>
</rdf:Description></rdf:RDF>