<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/273200">
    <dcterms:title><![CDATA[&#039;Take it as a tale&#039;: Reading the &#039;Plowman&#039;s Tale&#039; as if It Were]]></dcterms:title>
    <dcterms:description><![CDATA[By paying attention to apocryphal texts such as &quot;The Plowman&#039;s Tale,&quot; readers can understand the appeal of continuations of CT. As CT is an amorphous text, reconsidering medieval writers and readers of apocrypha helps scholars rethink the potential of these tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263281">
    <dcterms:title><![CDATA[&#039;Taking Keep&#039; of the &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Muscatine&#039;s &quot;Gothic form&quot; applies to BD with its &quot;linear series of discrete episodes&quot; and foci, as well as its shifts in viewpoint, style, and voice.  Interpretations move in a hermeneutical circle without resolution:  from parts to whole, from whole to parts.]]></dcterms:description>
    <dcterms:description><![CDATA[Lynch reviews various readings and argues that (1) the BD text encourages syntheses between waking/reading and dreaming/reawakening and (2) through ironic perspective the reader unifies BD by opposing correct models to states of misunderstanding and spiritual imbalance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263729">
    <dcterms:title><![CDATA[&#039;Tears for Passing Things&#039;: The Temple of Diana in the &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In contrast to the painful stasis of the temples of Mars and Venus, which Chaucer found in Boccaccio&#039;s &quot;Teseida,&quot; the invented Temple of Diana emphasizes mutability and transformation, revealing the &quot;hidden, more original concern&quot; of KnT with the &quot;widening gulf between heaven and earth.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267140">
    <dcterms:title><![CDATA[&#039;Teehee&#039; and Teaching Chaucer Cross Culturally in Kansas, Denmark, and Bulgaria]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes experiences and experiments in teaching Chaucer in several venues, noting how Chaucer&#039;s language and humor seem to transcend cross-cultural boundaries.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270952">
    <dcterms:title><![CDATA[&#039;Telle us som myrie tale, by youre fey!&#039;: Exploring the Reading Transaction and Narrative Structure in Chaucer&#039;s &#039;Clerk&#039;s Tale&#039; and &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In in order to demonstrate the utility of reader-response criticism, Davis and Womack analyze ClT in light of Gérard Genette&#039;s theory of narratology and TC, Linda Hutcheon&#039;s theory of parody. In ClT, Chaucer controls tempo and reaction through structure; TC parodies Boccaccio&#039;s &quot;Il Filostrato,&quot; particularly through the depictions of the main characters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271519">
    <dcterms:title><![CDATA[&#039;Termes of Phisik&#039;: Reading between Literary and Medical Discourses in Geoffrey Chaucer&#039;s &#039;Canterbury Tales&#039; and John Lydgate&#039;s &#039;Dietary&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Chaucer and Lydgate&#039;s appropriations of medical discourse (as in GP and KnT) and their introduction of such discourse into the larger English literary culture, including the ramifications for the history of medicine in England.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270627">
    <dcterms:title><![CDATA[&#039;Texts with Trowsers&#039;: Editing and the Elite Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Paradoxically, readers of Chaucer are assumed to respond &quot;intuitively&quot; and yet also to need the aid of specialized academic assistance. The Early English Text Society (EETS) and the Chaucer Society played crucial roles in creating this paradox and, despite their egalitarian goals, led readers to rely on professional assistance when approaching the poet&#039;s work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271453">
    <dcterms:title><![CDATA[&#039;Th&#039;ende is every tales strengthe&#039;: Contextualizing Chaucerian Perspectives on Death and Judgment]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on the &quot;ars moriendi&quot; (art of dying) manuals, that might have influenced Chaucer&#039;s writings on death, dying, and Purgatory in the MLT and PardT, among others. Includes background on treatises on the art of dying as well as changing attitudes about death in the late Middle Ages.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271246">
    <dcterms:title><![CDATA[&#039;Than Longen Folkes to Goon on Pilgrimages&#039;: A Meditation on Pilgrimage and Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Personal account that assesses several influential pilgrimage/travel narratives, including Homer&#039;s &quot;Odyssey,&quot; Dante&#039;s &quot;Divine Comedy,&quot; and CT, with comments on Chaucer&#039;s narrator, his debt to Dante, intertextuality, and the experience of reading GP in Bodleian MS 686. Revised as &quot;Than Longen Folk to Goon on Pilgrimages: Poetry and Travel,&quot; in Atlas: Selected Essays, 1989-2007 (Ann Arbor: University of Michigan Press, 2008), pp. 146-73.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269050">
    <dcterms:title><![CDATA[&#039;Thanne Have I Gete of Yow Maistrie&#039;: Power and the Subversive Body in Chaucer&#039;s Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Traditonal mind (male)/body (female) distinctions are insufficient for discussing WBPT because the Wife celebrates &quot;reason, learning, and open sexuality as rights given to women.&quot; In the Wife&#039;s relations with Jankin and in the Loathly Lady of WBT, Chaucer anticipates feminist efforts to redefine marriage as a free relationship between the sexes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267257">
    <dcterms:title><![CDATA[&#039;Thanne Motyn We to Bokys&#039; : Writing&#039;s Harvest in the Prologue to the Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Differences between the F and G versions of LGWP include increased concern in the latter with aurality, with the metaphor of harvest as an epistemological figure and an &quot;ars poetica,&quot; and with the boundaries between orality and literacy, Latin and vernacular, text and meaning, and related concerns reflected in Lollard and Ockhamist writing. Kimmelman corroborates traditional arguments that the G version is Chaucer&#039;s revision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270772">
    <dcterms:title><![CDATA[&#039;That Country Beyond the Humber&#039;: The English North, Regionalism, and the Negotiation of Nation in Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Taylor examines the role of the North as an &quot;uncanny figure&quot; in the development of English nationalism, as evidenced in the works of Bede, William of Malmesbury, the Robin Hood ballads, and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268710">
    <dcterms:title><![CDATA[&#039;That I was born, alas&#039;: Criseyde&#039;s Weary Dawn Song in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges R. E. Kaske&#039;s argument that Criseyde&#039;s aube is appropriate for a male speaker and suggests that her words indicate anxious weariness, perhaps even a death wish.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265033">
    <dcterms:title><![CDATA[&#039;That She Was Out of Alle Charitee&#039;: Point-Counterpoint in the &#039;Wife of Bath&#039;s Prologue&#039; and &#039;Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Alice misunderstands the sacramental nature of Christian marriage--which requires perennial mutual affection and joining of wills, not self-centered egoism--creating a serious obstacle to the sacrament&#039;s efficacy in producing grace.  Alice does not achieve grace in any marriage in contrast to the loathly lady and rapist/knight, who do.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265508">
    <dcterms:title><![CDATA[&#039;The Asse to the Harpe&#039;: Boethian Music in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the history and iconography of the &quot;asinus ad liram&quot; topos and examines its use in Boethius&#039;s &quot;Consolation of Philosophy,&quot; Juan Ruiz&#039;s &quot;Libro de buen amor,&quot; and TC.  Pandarus inverts Philosophy&#039;s use of the topos.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266610">
    <dcterms:title><![CDATA[&#039;The Augurye of Thise Fowles&#039;: Treacherous Birds in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the literary backgrounds of the birds in TC to argue that the birds &quot;carry with them themes of treachery and unnatural and sorrowful love&quot;; they help depict the &quot;dubious nature of temporal love.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263589">
    <dcterms:title><![CDATA[&#039;The Book of Cupid&#039; as an Imitation of Chaucer: A Stylo-Statistical View]]></dcterms:title>
    <dcterms:description><![CDATA[Computerized statistical and stylistic analysis indicates that this work is a pale imitation of Chaucer.  The imitator, perhaps Clanvowe, used Chaucer&#039;s tricks with context-independent function words.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272247">
    <dcterms:title><![CDATA[&#039;The Book of the Duchess,&#039; Line 480]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that there is no valid reason for treating line 480 of BD as inauthentic; it derives from Thynne&#039;s edition which has as much authority as manuscripts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263031">
    <dcterms:title><![CDATA[&#039;The Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Two factors have prevented BD from being recognized as a Boethian Apocalypse:  its elegiac nature and its debt to French love vision.  Chaucer reshapes the &quot;Boethian structure&quot; in various features:  the troubled first-person narrator, the dialogue, the device of the misread interpolated exemplum from &quot;reading a book,&quot; the narrator&#039;s assumption of a role of authority, the Knight&#039;s complaint, humanization of the narrator, and the motif of Fortune.]]></dcterms:description>
    <dcterms:description><![CDATA[In combining the philosophical, educational Boethian genre with the topical eulogy, Chaucer has &quot;exploited both the emotional tendencies of the genre and its ironic tendencies.&quot;  BD is not an allegory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264264">
    <dcterms:title><![CDATA[&#039;The Book of the Duchess&#039; and &#039;Fonteinne Amoureuse&#039;: Chaucer and Machaut Reconsidered]]></dcterms:title>
    <dcterms:description><![CDATA[Although the outlook of BD is fundamentally different from Machaut&#039;s &quot;Dit de la fonteinne amoureuse,&quot; the later influenced far more profoundly than has been noted the structure and motifs of BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272103">
    <dcterms:title><![CDATA[&#039;The Book of the Duchess&#039;--A Consolation?]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that BD is not a traditional consolation but rather a &quot;poetic monument in honor of Blanche.&quot; The poem&#039;s narrator is &quot;singularly unfitted for the role of comforter&quot; and inconsistent with the poet&#039;s own self-consciousness as an artist.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263282">
    <dcterms:title><![CDATA[&#039;The Book of the Duchess&#039;, Lines 31-96: Are They a Forgery?]]></dcterms:title>
    <dcterms:description><![CDATA[Contrary to N. F. Blake, textual evidence does not support a rejection of Thynne&#039;s edition and his unique lines 31-96 for BD; nor do textual and linguistic matters prove their authenticity.  The passage fits into the poem and its thematic patterns very well, and many details look back to Chaucer&#039;s French sources.  Since Thynne made no identified forgeries himself, no likely forger is known.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262511">
    <dcterms:title><![CDATA[&#039;The Book of the Duchess&#039;: A Re-Vision in a Dream]]></dcterms:title>
    <dcterms:description><![CDATA[Aware of both classical and medieval rhetoric, Chaucer in BD undermines traditions of courtly love by juxtaposing the uncomprehending narrator with the knight, an effete psychic double of the narrator who is unable to accept the fact of death.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264458">
    <dcterms:title><![CDATA[&#039;The Book of the Duchess&#039;: Secular Elegy of Religious Vision?]]></dcterms:title>
    <dcterms:description><![CDATA[Reconciles Wimsatt&#039;s other writings on BD--one emphasizing the closeness of BD to fourteenth-century French love poetry, the other studying the religious significance of the poem in the context of Christian tradition--which produce quite different readings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266285">
    <dcterms:title><![CDATA[&#039;The Book of the Duchess&#039;: The Date of Composition Related to the Theme of Impracticality]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that BD was composed after John of Gaunt made plans to remarry--or even after his second marriage--and that the poem constitutes both  an elegy on the death of Blanche and a &quot;carefully argued justification of Gaunt&#039;s second marriage.&quot;  Further, this justification is covertly undercut, indicating Chaucer&#039;s disapproval of the marriage to Constance.]]></dcterms:description>
</rdf:Description></rdf:RDF>