<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/277164">
    <dcterms:title><![CDATA[Disharmonic Spheres: Metapoetic Noise in Geoffrey Chaucer&#039;s &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the background to and representations of the harmony of the spheres in PF and in HF, arguing that both poems depict the &quot;three ventricles of the brain&quot;--imagination, logic, and memory--and that, through parody and/or inversion, each depicts a poetics, &quot;the cornerstone of which is disharmony rather than harmony.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273175">
    <dcterms:title><![CDATA[Dismal Science: Chaucer and Gower on Alchemy and Economy]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts Gower&#039;s and Chaucer&#039;s depictions of alchemy in, respectively, the &quot;Confessio Amantis&quot; and CT, and analyzes what these narratives reveal about the poets&#039; views of money and economy. Unlike the depiction of money in Book V of the &quot;Confessio,&quot; alchemy is depicted as a productive good in Book IV. In CYT, Chaucer excoriates alchemy as a false and deceptive science because he understood  it to be the opposite of a proper economy--the &quot;social technology&quot; of money.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263438">
    <dcterms:title><![CDATA[Dismantling the Canterbury Book]]></dcterms:title>
    <dcterms:description><![CDATA[The last tales of CT form a closing sequence of transformation:  SNT (conversion fervor in the early church), CYT (alchemical madness of fourteenth-century England), ManT (debasing of myth), and ParsT (change of soul through penitence), as Chaucer gradually disengages himself from fiction for his Ret.  Thus Ellesmere order, which represents Chaucer&#039;s intentions for closure, is preferred to Hengwrt.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277161">
    <dcterms:title><![CDATA[Dismembered Memories: Philomela in Chaucer and Gower.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts Chaucer&#039;s and Gower&#039;s Philomela stories, focusing on differences between the nuances and implications of weaving in LGW and embroidery in &quot;Confessio Amantis,&quot; and arguing that Chaucer&#039;s version aligns better with modern understanding of &quot;trauma-fragmented memory,&quot; speaking, and rape survival.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263522">
    <dcterms:title><![CDATA[Dismemberment, Dissemination, Discourse: Sign and Symbol in the &#039;Shipman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The theme of dismemberment initially voiced in the metaphor of the &quot;forstraught&quot; hare (line 1295) reverberates throughout the tale, giving rise to secondary themes of exchange of roles and dissemination of vows, underpinned by references to saints&#039; legends.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268669">
    <dcterms:title><![CDATA[Disordered Grief and Fashionable Afflictions in Chaucer&#039;s Franklin&#039;s Tale and the Clerk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[In FranT and ClT, masculine grief is aligned with courtly ideals of gentility; feminine grief, with courtly suffering. By complicating these associations and disallowing consolation of grief, Chaucer intervenes in the &quot;discursive practices&quot; of the fraudulence of the values that society attributes to grief.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270803">
    <dcterms:title><![CDATA[Disorienting Orientalism: Finding Saracens in Strange Places in Late Medieval Manuscripts]]></dcterms:title>
    <dcterms:description><![CDATA[Late medieval manuscript illuminations show Danes and other northern pagans with costumes and weapons that are emblematic of the Near East. Like MLT and Gower&#039;s Tale of Constance, these images indicate that the term Saracen included various non-Christian groups, evidence of a perspective that sees pagan threats on three fronts: pagan Norse, eastern Muslims, and the Moors and Arabs of Spain.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271526">
    <dcterms:title><![CDATA[Dispersed Selves, Excessive Flesh: Embodied Identity Flows in Three Middle English Narratives]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;The King of Tars,&quot; &quot;The Siege of Jerusalem,&quot; and KnT in order to demonstrate that identity, however embodied, was unfixed in these works and perhaps in the later Middle Ages at large.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267939">
    <dcterms:title><![CDATA[Dispersing the Atmosphere of Antiquity and Attempting the Impossible&#039;: R. H. Horne&#039;s Geoffrey Chaucer Modernized]]></dcterms:title>
    <dcterms:description><![CDATA[Recounts the aims and accomplishments of the modernization of Chaucer edited by Horne in 1840-41, with contributions by Leigh Hunt, William Wordsworth, and Elizabeth Barrett, among others. Correspondence helps to clarify what individual contributors hoped to achieve personally and professionally through their efforts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270866">
    <dcterms:title><![CDATA[Disseminal Chaucer: Rereading &quot;The Nun&#039;s Priest&#039;s Tale&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads NPT as Chaucer&#039;s self-reflexive &quot;ars poetica,&quot; a Menippean parody of the complexities of engaging with language and literature. Through subtle play with the traditional liberal arts education, especially the trivium, NPT explores imitation, translation, and exemplification. It examines the nature of irony and metaphor, the relation of sound to meaning, the processes of time keeping and intellection, and the epistemology and ontology of truth and truth making. It challenges individual readers to achieve a &quot;more sophisticated level of critical thinking.&quot; The volume includes close, extended analyses of the major cruces of NPT and comments at length on the Host, FranT, SumT, PF, HF, and LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276714">
    <dcterms:title><![CDATA[Distance and Predestination in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the &quot;artistic role&quot; in TC of the narrator--a commentator and a &quot;historian [who] meticulously maintains a distance between himself and the events in the story.&quot; Explores &quot;temporal, spatial, aesthetic, and religious&quot; devices in the poem (especially in the proems) that help to create a &quot;sense of distance between Chaucer as character and his story,&quot; arguing this &quot;sense of distance and aloofness&quot; is &quot;the artistic correlative to the concept of predestination.&quot; The &quot;historian-narrator,&quot; then, is analogous to God as foreknower but not causer of outcomes. Troilus approaches the narrator&#039;s perspective when he accepts destiny.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275134">
    <dcterms:title><![CDATA[Distant Mirrors: Medieval London in the Narratives of Geoffrey Chaucer and Peter Ackroyd.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes (and reiterates) appreciation of Ricardian culture, exploring ways that Chaucer evokes a strong sense of contemporary London in CT and how, in &quot;The Clerkenwell Tales,&quot; Peter Ackroyd evokes a similar sense of reality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266981">
    <dcterms:title><![CDATA[Distentio, Intentio, Attentio: Intentionality and Chaucer&#039;s Third Eye]]></dcterms:title>
    <dcterms:description><![CDATA[Criseyde&#039;s statement that she lacks Prudence&#039;s third eye should be understood in the context of Augustine&#039;s theories of time and intentionality and the philosophical realism on which they draw. Her observation points up her failure to see &quot;transcendent intentionality&quot; beyond human distinctions of past, present, and future.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271015">
    <dcterms:title><![CDATA[Distortions of the Chaucerian Tradition in &#039;The Assembly of Ladies&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses &quot;The Assembly of Ladies&quot; in light of several Chaucerian techniques, particularly his use of a disarming narrative persona. The relatively straightforward female narrative persona of &quot;Assembly&quot; is unlike the narrator of LGW, although both poems present &quot;profeminine&quot; perspectives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270705">
    <dcterms:title><![CDATA[Distribution of Infinitive Markers in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Tabulates and analyzes various combinations of Middle English infinitive markers--the -e(n) ending, the particle &quot;to,&quot; and the particle phrase &quot;for to&quot;--finding that they occur in no identifiable grammatical or semantic patterns of distribution in the first 1000 lines of CT, here taken as representative of post-thirteenth-century English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275016">
    <dcterms:title><![CDATA[Diverging Forms: Disability and the Monk&#039;s Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the tragedies that constitute MkT as disability narratives, exploring how formal strategies within stanzaic units interface with a thematic focus on bodily disorder. MkT enacts a &quot;symbiotic relationship between literary form and social attitudes toward human variance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266396">
    <dcterms:title><![CDATA[Divers Toyes Mengled: Essays on Medieval and Renaissance Culture in Honour of Andre Lascombes]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty-eight essays by various authors addressing Chaucer, Langland, medieval drama (English, Spanish, and French), Malory, Thomas More, and Renaissance drama, especially Shakespeare. For four essays that pertain to Chaucer, search for Divers Toyes Mengled under Alternatve Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269093">
    <dcterms:title><![CDATA[Diverse folk diversely they seyde : Korean Translations of The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[The authors critique several Korean translations of CT published since the early 1960s: those by J. Kim, B. Song, Dong-il Lee and Dongchoon Lee, and another attributed to J. Kim.]]></dcterms:description>
    <dcterms:description><![CDATA[In Korean, with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277266">
    <dcterms:title><![CDATA[Diverse Folk Diversely They Seyde: A Study of the Figure of Medea in Medieval Literature. ]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. From the abstract: &quot;The focus of my discussion is on the presentation of Medea in late-fourteenth and early-fifteenth century English literature where her story is recounted by three historians of Troy . . . as well as by Chaucer, in the &#039;Legend of Good Women, and Gower, in the &#039;Confessio Amantis.&#039;&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272198">
    <dcterms:title><![CDATA[Diverse Melodies in Chaucer&#039;s &#039;General Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Gauges the implications of the wide range of musical images in GP, exploring the exegetical roots of Chaucer&#039;s uses of these images, and assessing concord, discord, and silence as indicators of moral approval or censure. Chaucer&#039;s uses are not reductionist, but instead &quot;Gothic&quot; in their intricate variety.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275960">
    <dcterms:title><![CDATA[Diverse Pageants: Normative Arrays of Sexuality.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies parallels between Chaucer&#039;s and Spenser&#039;s depictions of ranges and varieties of love-relationships in PF; TC; CT; and &quot;The Faerie Queene,&quot; books III–IV. Introduced via allusion to FranT, Britomart is central to Spenser&#039;s collection of &quot;diverse pageants&quot; of love, here linked to the &quot;generative sexuality&quot; of Boethian, neoplatonic love, and recurrently resonant with Chaucer&#039;s similar &quot;normative array&quot; of female-focused love narratives, many with specific echoes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276066">
    <dcterms:title><![CDATA[Divided Loyalties: Family and Consent to Marriage in Late Middle English Literature, 1300–1500.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies tensions between family approval and the consent of marital couples in late medieval England and its literature, arguing that TC and LGW offer conflicting views of the tension while MLT resolves it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264140">
    <dcterms:title><![CDATA[Divine Order and Human Freedom in Chaucer&#039;s Poetry and Philosophical Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s use of philosophy, classic and medieval, goes far beyond Boethius.  KnT explores order and disorder in terms of scholasticism; TC treats will and determinism in the light of views from Augustine to Bradwardine; and NPT subtly inverts scholastic orthodoxy on these themes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271538">
    <dcterms:title><![CDATA[Divine Ventriloquism in Medieval English Literature: Power, Anxiety, Subversion]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the tradition in which God speaks through humans and the proto-reformation implications of literary texts where the laity use speech usually reserved for priests. Chapter 4, &quot;Cursed Speakers,&quot; considers the carter&#039;s and old woman&#039;s curses in FrT as parodies of Eucharistic prayers. Chapter 5, &quot;Belly Speech,&quot; explores divine speech eminating from parts of the body other than the mouth, with discussion of the ailing man&#039;s fart in SumT as an instance of this non-vocal divine speech.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263681">
    <dcterms:title><![CDATA[Division and Connection: Mediation in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Polarities in Chaucer&#039;s work lead the reader to nonjudgmental acceptance of opposites through involvement with characters,triangular relationships, and language.]]></dcterms:description>
</rdf:Description></rdf:RDF>