<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/276975">
    <dcterms:title><![CDATA[&quot;Hende&quot;: A Handy Middle English Adjective.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies the &quot;nuanced semantic versatility&quot; of &quot;hende&quot; in romances and fabliaux, with particular attention to MilT and &quot;Dame Sirith,&quot; showing how various connotations obtain in differing contexts, and suggesting that editors &quot;might apply distinct glosses to each of the eleven instances of the word applied to Nicholas&quot; in MilT, &quot;including a blend of positive, negative, physical, conceptual, and inverse meanings.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276974">
    <dcterms:title><![CDATA[The Medieval Life of Language: Grammar and Pragmatics from Bacon to Kempe]]></dcterms:title>
    <dcterms:description><![CDATA[Studies &quot;pragmatics as an important aspect of premodern understanding of language and meaning,&quot; exploring &quot;pragmatic ideas and metapragmatic awareness&quot; in various kinds of medieval discourse. Details the contexts, functions, and significations of the interjection &quot;allas&quot; in portions of CT and TC, and examines MilPT for ways it &quot;deconstructs the notion of stable, authorial, intentional meaning and explores narrative dialogism and the pragmatics of identity and affective power for comic and satiric effect.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276973">
    <dcterms:title><![CDATA[Imagining the Bob and Wheel.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on the poetic form made famous by &quot;Sir Gawain and the Green Knight&quot; and Th, but also considers poetic form in the scorpion passage of BD and alliteration in ParsP. Discusses myths surrounding the &quot;bob and wheel&quot; form that are often perpetuated both by students engaging in cursory internet searches and incorrect online study guides.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276972">
    <dcterms:title><![CDATA[Linguistic Change and Metre: The Demise of Adjectival Inflections and the Scansion of &quot;High&quot; and &quot;Sly&quot; in Chaucer, Gower and Hoccleve.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the scansion of &quot;high&quot; and &quot;sly&quot; in works by Chaucer, Gower, and Hoccleve--all &quot;careful metrists&quot;--as evidence of the demise of &quot;inflection of monosyllabic adjectives (final -e for weak and plural adjectives).&quot; Posits that irregularities in usage are due to the &quot;vulnerability of schwa after front vowels,&quot; and offers several cautions for editors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276971">
    <dcterms:title><![CDATA[&quot;What is this world?&quot;: Chaucer, Realism and Metaphysics.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the question of what Chaucer &quot;holds to be the nature of reality,&quot; focusing on &quot;the metaphysics of beauty&quot; in PF, the &quot;nature of the rocks&quot; in FranT, and the &quot;ontology of narrative itself&quot; in NPT, and showing that &quot;Chaucer&#039;s sensate faith in and appreciation of the reality of things underpins the characteristic attention to everyday detail evident in his poetry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276970">
    <dcterms:title><![CDATA[&quot;I am not against your faith yet I continue mine&quot;: Virginal Vocation in &quot;The Two Noble Kinsmen.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Emelye of KnT and Emilia of Shakespeare and Fletcher&#039;s &quot;The Two Noble Kinsmen,&quot; arguing that Emelye&#039;s desire for a non-patriarchal subjectivity is developed in her literary descendant--that &quot;monastic connotations in Chaucer&#039;s depictions of Emelye&quot; adumbrate Emilia&#039;s &quot;attempts to carve out a homosocial space for herself,&quot; and that this &quot;Catholic resonance within the play&quot; is submerged but not wholly dispelled by prevailing Reformation sensibility that privileges marital chastity over virginity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276969">
    <dcterms:title><![CDATA[Writing, Men, Empire: Kipling&#039;s Medievalist Imagination.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers how Rudyard Kipling incorporates a Chaucer-centered medievalism in his writings, emphasizing the conservative, imperialist bent of this reception. As a point of departure, draws attention to Kipling&#039;s late short story &quot;Dayspring Mishandled,&quot; which weaves a tale of manuscript forgery around allusion to rivalry for a woman, recalling KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276968">
    <dcterms:title><![CDATA[The Yeoman&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[A murder mystery in which Geoffrey Chaucer and his friend John Gower try to solve a double murder while barricaded in the Tabard Inn, defended against the rebellious peasants in 1381. Features historical and fictional characters, some of the latter based on CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276967">
    <dcterms:title><![CDATA[The Knight&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[A murder mystery in which the investigator--Geoffrey Chaucer, &#039;Comptroller of His Grace&#039;s Woollens and poet to the court of the late king&quot;--seeks the murderer of Lionel, duke of Clarence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276966">
    <dcterms:title><![CDATA[The Clerk&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[A murder mystery, set in Oxford, in which Geoffrey Chaucer investigates homicide amidst town–gown tensions, rivalries in the colleges, debates, Lollards, and astrolabes. Features historical and fictional characters, including Ralph Strode and a shipman whose boat is named the &quot;Madeleine.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276965">
    <dcterms:title><![CDATA[Scripting the Nation: Court Poetry and the Authority of History in Late Medieval Scotland.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes a &quot;widespread nationalistic feeling&quot; in late medieval and early modern Scotland, with particular attention to Latin chroniclers, court poets in the reign of James IV, and their similar uses of Scottish myths of origin in resistance to English  ones. Includes discussion of how the Selden manuscript &quot;appropriates Chaucerian material to its own nationalistic vision&quot;; how William Dunbar &quot;claims Chaucer as a literary ancestor&quot; while he asserts his own nationalistic voice; and how, for Gavin Douglas, Chaucer exemplifies past English glory that has degenerated in contrast with growing Scottish prestige.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276964">
    <dcterms:title><![CDATA[Chaucer, Shakespeare, and the Lost Friendship Plays of the Admiral&#039;s Men.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies complex intertextual relations among KnT, the story of Amis and Amiloun, Shakespeare and Fletcher&#039;s &quot;Two Noble Kinsmen.&quot; and archival references to two lost Tudor plays, &quot;Palamon and Arcite&quot; and &quot;Alexander and Lodowick, &quot;exploring differences between motifs of medieval sworn brotherhood and humanist classical friendship. In this light, considers &quot;The Two Noble Kinsmen&quot; as a critique of male-friendship plays performed by the Admiral&#039;s Men.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276963">
    <dcterms:title><![CDATA[The Word of Apollo: Prophecy and Vatic Poetry in Geoffrey Chaucer&#039;s &quot;Troilus and Criseyde&quot; and William Shakespeare&#039;s &quot;Troilus and Cressida.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that allusion to Apollo in TC conveys an ambivalent attitude toward literary authority by affiliating it with sexual violence, an ambivalence that Shakespeare echoes in &quot;Troilus and Cressida.&quot; Both writers use Apollo to problematize intertextuality and &quot;allow the shadow of sexual violence to hover in the background of their texts as a means to question the foundations of poetic prophecy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276962">
    <dcterms:title><![CDATA[The Framing of the Shrews: Dream Skepticism from &quot;The House of Fame&quot; to &quot;The Taming of the Shrew.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that Shakespeare&#039;s &quot;Taming of the Shrew&quot; and the anonymous &quot;Taming of a Shrew&quot; feature skeptical parody of Stoic certainty about distinguishing reality from illusion or dream. As in HF, the &quot;framing fictions&quot; of the plays &quot;make a show&quot; of controlling uncertainty and reveal the skeptical &quot;circularity&quot; of any &quot;dogmatic quest for authoritative certainty.&quot; Assesses how &quot;[s]cenes problematizing authoritative instruction proliferate&quot; throughout HF and the plays and, in the latter, destabilize antifeminist certainties.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276961">
    <dcterms:title><![CDATA[Stealing Shives: &quot;Titus Andronicus&quot; as Chaucerian Anti-Romance.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies narrative, linguistic, and thematic similarities between Chaucer&#039;s KnT, MilT, and RvT and Shakespeare&#039;s &quot;Titus Andronicus,&quot; and argues that the brutal treatment of Lavinia in Shakespeare&#039;s play resonates with the aspects of courtly love depicted and refracted in Chaucer&#039;s three tales and in TC, thereby &quot;blurring the lines&quot; between &quot;violent &#039;Roman&#039;&quot; and &quot;courtly&#039; Romance.&#039;&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276960">
    <dcterms:title><![CDATA[Afterword [to Special Issue}]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how resonance with CT in &#039;1 Henry IV, 1.2, &quot;communicates the pre-Reformation otherness of the world&quot; and raises questions about &quot;cultural distance and appropriation&quot; that circulate among the essays collected in this special issue of &quot;Comparative Drama.&quot; Also comments on allusions to Chaucer in John Dryden&#039;s preface to his &quot;Troilus and Cressida&quot; and his &quot;The Grounds of Criticism in Tragedy,&quot; as well as in Ben Jonson&#039;s &quot;Entertainment at Bolsover.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276959">
    <dcterms:title><![CDATA[The Fetters of Rhyme: Liberty and Poetic Form in Early Modern England]]></dcterms:title>
    <dcterms:description><![CDATA[Considers briefly Chaucer&#039;s influence on the revival of poetic couplets in early modern English verse, especially as mediated by George Puttenham&#039;s &quot;The Arte of English Poesie.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276958">
    <dcterms:title><![CDATA[Reading at the Seams in &quot;Titus Andronicus&quot;: Shakespeare&#039;s &quot;House of Fame&quot; and Its Virgilian-Ovidian-Chaucerian Resonances.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on depictions of Dido in HF and in Shakespeare&#039;s &quot;Titus,&quot; arguing that &quot;Shakespeare found in Chaucer&#039;s &quot;House of Fame&quot; a medieval vernacular model for . . . [the] Virgilian-Ovidian hybridity&quot; of the character, and showing that the two works share &quot;thematic strands,&quot; including reputation, rumor, imperial authority, and the &quot;weight of textual authority.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276957">
    <dcterms:title><![CDATA[Femina: A New History of the Middle Ages, through the Women Written Out of It.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes a brief summary of KnT and posits that the petitioning of Theseus by the Theban women may have inspired the &quot;final act&quot; of suffragette Emily Wilding Davison when she reached &quot;towards the king&#039;s horse&quot; at the Epsom Derby of 1913. Also notes that, as a child, Wilding Davison adopted the pen name &quot;Emelye.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276956">
    <dcterms:title><![CDATA[Keats Reading Chaucer: Troilus and Arrested Time in &quot;The Eve of St. Agnes.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews Keats&#039;s &quot;regular contact&quot; with Chaucer&#039;s works and assesses TC as a &quot;largely overlooked intertext&quot; for &quot;The Eve of St. Agnes&quot; that illuminates &quot;the creative tensions of St. Agnes and Keats&#039;s habits in reading medieval texts.&quot; Focuses on &quot;Keats&#039;s affective identification with Troilus&quot; and &quot;the ways that St. Agnes rewrites Chaucer&#039;s tragedy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276955">
    <dcterms:title><![CDATA[&quot;[A]n Exterior Air of Pilgrimage&quot;: The Resilience of Pilgrimage Ecopoetics and Slow Travel from Chaucer&#039;s &quot;The Canterbury Tales&quot; to Jack Kerouac&#039;s &quot;On the Road.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the &quot;ecocritical insights&quot; of Jack Kerouac&#039;s &quot;On the Road&quot; via its intertexual relations with the &quot;pilgrimage ecopoetics&quot; of CT, exploring structural similarities in the works and their vernacularity, metatextual references, &quot;linguistic and physical contingency, and slow walking, where<br />
slowness functions as a form of rebellion.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276954">
    <dcterms:title><![CDATA[Two Clerical Dramatists, and Their Forgotten Heroines of the Celtic Revival: &quot;Ravishing&quot; Evelina and Scorned Gwendolen.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of WBT as &quot;inspiration&quot; for Reginald Heber&#039;s fragmentary verse-drama &quot;The Masque of Gwendolen&quot; (1830).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276953">
    <dcterms:title><![CDATA[Chaucerian Topoi and Topography in Thomas Dekker&#039;s (and John Webster&#039;s) &quot;Westward Ho&quot; (1605) and &quot;Northward Ho&quot; (1607).]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that Chaucerian estates satire in CT influenced the development of dramatic &quot;city comedy&quot; at the turn of the seventeenth century. Shows that in his &quot;Ho&quot; plays Dekker adapts Chaucer&#039;s London topographies, characterizations, themes, and motifs of game and play to develop &quot;neo-Chaucerian topoi and topography . . . in which everyone is a &#039;homo viator&#039; and &#039;homo ludens&#039;.&quot; Links these concerns with John Norden&#039;s 1593 map of London.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276952">
    <dcterms:title><![CDATA[Danger Lurks in the Darkness: The Ruskin/Burne-Jones Medieval Poetry Salon for Girls.]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces the activities and concerns of a Victorian &quot;salon&quot; conducted by John Ruskin and Edward Burne-Jones in which young women could &quot;engage in serious conversations about medieval poetry, about art, and about humanitarianism and virtue.&quot; Focuses on Ruskin and Burne-Jones&#039;s reception of LGW, with attention to Victorian depictions of Medea, Burne-Jones&#039;s tapestry of LGW and the Kelmscott Chaucer, and Ruskin&#039;s annotations in his copy of Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276951">
    <dcterms:title><![CDATA[A Credible Debt: Dekker as Host to Chaucer&#039;s Franklin.]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that in his pamphlet &quot;A Strange Horse-Race,&quot; Thomas Dekker quotes FranT &quot;to illustrate hospitality&quot; and the force of &quot;binding oaths&quot;; in his play &quot;The Shoemaker&#039;&#039;s Holiday,&quot; he &quot;drew on Chaucer&#039;s Franklin for material about credit and debt.&quot; Because Chaucer was reputed to be a debtor, and concerned with patience, obligation, and binding language, Dekker relied on  Chaucer as &quot;a model . . . not just as writer, but also as a debtor.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>