<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/263540">
    <dcterms:title><![CDATA[&#039;The Canon&#039;s Yeoman&#039;s Tale&#039; ni okeru &#039;craft&#039; no Imi ( Implications of the Word &#039;Craft&#039; in &#039;The Canon&#039;s Yeoman&#039;s Tale&#039; )]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses how &quot;craft&quot; is lexically related to the development of the story.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271436">
    <dcterms:title><![CDATA[&#039;The Canterbury Tales&#039; and &#039;Gamelyn&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines twenty-five CT mss in which &quot;Gamelyn&quot; appears and makes suggestions about the tale&#039;s relationship to the CT, arguing against the notion that early scribes included it on &quot;wholly whimsical grounds.&quot;  Its inclusion early in the textual tradition and its occurrence only with the CT invite further consideration.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263442">
    <dcterms:title><![CDATA[&#039;The Canterbury Tales&#039; as &#039;Compilatio&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Advances computer data-based theory that if various manuscripts of CT represent &quot;compilationes&quot; with the &quot;Tales&quot; as &quot;auctoritates,&quot; study of incomplete manuscripts may reveal how readers used them to discuss moral-ethical issues.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263702">
    <dcterms:title><![CDATA[&#039;The Canterbury Tales&#039; as Framed Narratives]]></dcterms:title>
    <dcterms:description><![CDATA[More than a mere unifying element, the pilgrimage frame of CT introduces tales, sets the tone of complexity, universalizes the stories, prepares us for morality and mirth, and satisfies the Gothic urge for wholes within wholes.  The Host is both supporter and critic of Chaucer, in a frame both causative and authenticating.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270261">
    <dcterms:title><![CDATA[&#039;The Canterbury Tales&#039; in &#039;The Faerie Queene&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Spenser emulated a four-part mythic pattern of Chaucer&#039;s KnT in his own version of SqT, as well as elsewhere in Books 3-4 of &quot;The Faerie Queene,&quot; where Spenser also reflects the influence of Chaucer&#039;s concerns in the Marriage Group (particularly FranT) and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265472">
    <dcterms:title><![CDATA[&#039;The Canterbury Tales&#039; in Charles Knight&#039;s &#039;Old England&#039;: Conservative Reform in Popular Publishing]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the iconography of nineteenth-century engravings of select Canterbury pilgrims published by Knight.  The postures, details, and styles in the engravings reflect assumptions about social order, as well as Knight&#039;s program of educating his readership.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273149">
    <dcterms:title><![CDATA[&#039;The Canterbury Tales&#039; in Terms of a Road Festival as Reflected in &#039;The Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Applies Mikhail Bakhtin&#039;s notion of the &quot;carnivalesque,&quot; which provides a &quot;context for understanding the importance of laughter&quot; in CT. The Miller focuses on physical pleasure and natural instinct in MilT; his disregard for rules of social hierarchy reinforces that the pilgrimage is a  time of &quot;carnivalesque freedom&quot; for the Host and the pilgrims.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271682">
    <dcterms:title><![CDATA[&#039;The Canterbury Tales&#039; in the Nineteenth Century: Maria Edgeworth&#039;s The Modern Griselda]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Maria Edgeworth&#039;s view of the education of women through her adaptation of ClT in &quot;The Modern Griselda&quot; (1805), intended as a warning against sensibility and defense of rational women.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263717">
    <dcterms:title><![CDATA[&#039;The Canterbury Tales&#039; Women Narrators: Three Traditions of Female Authority]]></dcterms:title>
    <dcterms:description><![CDATA[Women narrators--Wife of Bath, Prioress, and Second Nun--seek either earthly or spiritual authority over men in CT and establish female poetic tradition, invoking powerful females archetypes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262695">
    <dcterms:title><![CDATA[&#039;The Canterbury Tales&#039;, A. 2032: &#039;Of Antonius&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The reference to the slaughter of Antonius in KnT 2032 is not to Mark Antony, as is commonly believed, but to Antonius Bassianus.  Usually known as Caracalla, Emperor Antonius was betrayed and murdered--a reference far more suitable to Chaucer&#039;s context than is Mark Antony&#039;s suicide.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272562">
    <dcterms:title><![CDATA[&#039;The Canterbury Tales&#039;: Memory and Form]]></dcterms:title>
    <dcterms:description><![CDATA[Observes that the &quot;primary fiction&quot; of CT is the narrator&#039;s &quot;remembered personal experience,&quot; established in the GP and providing &quot;the principle of form&quot; for the entire work: a &quot;pervasive sense of obsolescence, the passing of experience into memory.&quot; Comments on the medieval understanding of memory, the &quot;ideal&quot; portraits of GP, and the thematic unity of CT, despite its unfinished nature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265886">
    <dcterms:title><![CDATA[&#039;The Canterbury Tales&#039;: New Proposals of Interpretation]]></dcterms:title>
    <dcterms:description><![CDATA[The systematic inconsistencies between numbers in GP (number of pilgrims &quot;announced&quot; v. number found by reader, number of tales &quot;promised&quot; v. actual number, number of potential narrators v. number of tales told) seem to proceed from a poetic strategy inspired by the nominalist theory of knowledge, designed to invite the reader to a critical reappraisal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269615">
    <dcterms:title><![CDATA[&#039;The cause of everiche maladye&#039;: A New Source of the Physician&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[As a treatise on continence, the last chapter of the &quot;Summa virtutem remediis anime&quot; provides significant analogues to PhyT. Virginia represents true virginity and in her martyrdom appears saintly. Virginius represents foolish virginity, especially given his sacrifice of his daughter, a sacrifice made unnecessary and cruel in light of the source text, which locates virginity in the spirit--not the flesh.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263046">
    <dcterms:title><![CDATA[&#039;The Chaunce of Dice&#039; and &#039;The Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Notes an allusion to LGW 1377 in the mid-fifteenth-century poem &quot;The Chaunce of Dice&quot; 1.34, not noted by Spurgeon.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266911">
    <dcterms:title><![CDATA[&#039;The Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Psychoanalyzes Walter of ClT as one who tests Griselda&#039;s submissiveness to assure his own freedom and to vindicate his choice of her as a wife. Griselda seeks personal glory in her subservience. They are &quot;two sick people in a pathological relationship, and Chaucer seems aware of this.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262452">
    <dcterms:title><![CDATA[&#039;The Clerk&#039;s Tale&#039; and the Arts of Narrative Manipulation]]></dcterms:title>
    <dcterms:description><![CDATA[The Clerk&#039;s &quot;apparently subversive narration&quot; draws the reader away from pathos toward &quot;harder wisdom.&quot;  ClT is a &quot;gem of narrative irony.&quot;  The Clerk manipulates reader response by exploiting &quot;techniques of irony&quot; and pointing out inconsistencies in his own tale to provide the reader with two choices:  the blindness and bondage of Walter&#039;s unstable people or the &quot;knowing freedom&quot; of patient Griselda--responses inspired by the inscrutable Walter.]]></dcterms:description>
    <dcterms:description><![CDATA[In her loving obedience, Griselda maintains a &quot;moral integrity&quot; that places her &quot;beyond the reach of fortune and change.&quot;  Herein lies the lesson of ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265944">
    <dcterms:title><![CDATA[&#039;The Clerk&#039;s Tale&#039; and the Grammar of Assent]]></dcterms:title>
    <dcterms:description><![CDATA[Griselda&#039;s assent to Walter&#039;s wishes, which goes beyond the patience or concealment that he demands, represents complete identification or unity of will.  In the theological terms of Rudolph Otto, her assent is not &quot;moral&quot; but &quot;numinous.&quot; The absoluteness of her assent therefore defies political or moral explanation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272057">
    <dcterms:title><![CDATA[&#039;The Clerk&#039;s Tale&#039;: An Obituary to &#039;Gentilesse&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that ClT demonstrates that &quot;gentilesse&quot; is &quot;inoperable in a capricious and volatile&quot; society, evident in Griselda&#039;s treatment by Walter and his people. An ideal virtue, &quot;gentilesse&quot; is impossible, even for Griselda, who lacks pity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265875">
    <dcterms:title><![CDATA[&#039;The Clerk&#039;s Tale&#039;: Griselda&#039;s Virtue as Both Disruptive and Necessary]]></dcterms:title>
    <dcterms:description><![CDATA[Compares and contrasts Griselda of ClT with the Biblical Job to show that her morality is unorthodox and that she can be seen as a usurper of male roles.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271429">
    <dcterms:title><![CDATA[&#039;The Clerkenwell Tales&#039; de Peter Ackroyd: Une persistance de la formule chaucérienne?]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Ackroyd&#039;s use of Chaucer&#039;s &quot;formulism&quot; (Zumthor) and reflects on how successful the accumulation of medieval formulas and sayings really is.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262985">
    <dcterms:title><![CDATA[&#039;The Color Purple&#039; and the Patient Griselda]]></dcterms:title>
    <dcterms:description><![CDATA[Most of the major elements of plot and theme in ClT reappear in Alice Walker&#039;s novel of 1982.  The heroines of each, Griselda and Celie, passively accept male domination and tyranny but finally achieve reconciliation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265493">
    <dcterms:title><![CDATA[&#039;The Complaint of Venus&#039;: Chaucer and de Graunson]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the diction of Chaucer&#039;s Ven with that of its sources (three of Otto de Graunson&#039;s ballades) to explore how Chaucer reconceived &quot;what de Graunson had written for a male speaker as an expression of a woman&#039;s feelings.&quot;  The speaker of the poem is presented as a translator and, like other Chaucerian narrator-translators, is feminine or feminized.  Includes the text of Ven and its sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267873">
    <dcterms:title><![CDATA[&#039;The Craft So Long to Lerne&#039; : &#039;Love&#039; and &#039;Art&#039; in The Parliament of Fowls]]></dcterms:title>
    <dcterms:description><![CDATA[Survey of love and art in PF.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267536">
    <dcterms:title><![CDATA[&#039;The Craft So Long to Lerne&#039; : Chaucer&#039;s Invention of the Iambic Pentameter]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s model for the iambic pentameter line was Boccaccio&#039;s endecasillabo, not the French vers de dix. Chaucer introduced the &quot;void&quot; position, the &quot;extra unprominent syllable within the hemistich, and possibly the epic caesura.&quot; All of his pentameter poems show equal mastery of line, and verse analysis indicates that he is probably the author of the &quot;Ch&quot; poems.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262036">
    <dcterms:title><![CDATA[&#039;The Craft So Long to Lerne&#039;: Poet and Lover in Chaucer&#039;s &#039;Envoy to Scogan&#039; and &#039;Parliament of Fowls&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In Scog and PF, Chaucer creates a vision of the world of love through which he may comment on his own craft.  The poet-narrator&#039;s being uninitiated to love is a quality ideally suitable to this double focus on poetry and love.]]></dcterms:description>
</rdf:Description></rdf:RDF>