<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/261844">
    <dcterms:title><![CDATA[&#039;The Destruction of Troy&#039;, Chaucer&#039;s &#039;Troilus and Criseyde&#039;, and Lydgate&#039;s &#039;Troy Book&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Inclusion of Diomede&#039;s taking Criseyde&#039;s rein, original with Chaucer, dates &quot;The Destruction of Troy&quot; after 1385-87.  A probable compression of Lydgate&#039;s reference to TC suggests a date after 1420 and closer to Luttrell&#039;s dating of the alliterative poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271121">
    <dcterms:title><![CDATA[&#039;The devel have part on alle swich rekenynges: The Augustinian Argument about Wealth and Wisdom in Chaucer&#039;s &#039;Shipman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer seeks to persuade the audience of ShT to &quot;use money wisely&quot; by exposing the fallacy of equating wisdom and wealth and by following St. Augustine&#039;s arguments about wealth (that are also echoed in Mel and ParsT). This helps to justify the references to Augustine in ShT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267451">
    <dcterms:title><![CDATA[&#039;The Doctour Maketh This Descriptioun&#039; : The Moral and Social Meanings of Leprosy and Bubonic Plague in Literary, Theological, and Medical Texts of the English Middle Ages and Rena]]></dcterms:title>
    <dcterms:description><![CDATA[In the Christian Middle Ages, epidemics were perceived as punishment for spiritual sin, though bubonic plague became so widespread as to seem apocalyptic. Grigsby treats &quot;Pricke of Conscience,&quot; &quot;Amis and Amiloun,&quot; the York Cycle &quot;Moses and Pharaoh,&quot; Gower, Chaucer (SumT, PardT), and Henryson, concluding with a discussion of syphilis in Renaissance literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268260">
    <dcterms:title><![CDATA[&#039;The Doctrine of These Olde Wyse&#039;: Commentary on the Commentary Tradition in Chaucer&#039;s Dream Visions]]></dcterms:title>
    <dcterms:description><![CDATA[In LGWP, PF, and HF, Chaucer absorbs several conventions and concerns from the commentaries that he used as sources, thereby suggesting that his audience was familiar not only with traditional texts but also with the commentaries on them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268398">
    <dcterms:title><![CDATA[&#039;The Double Bind of Troilus to Tellen&#039;: The Time of the Gift in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[TC exhibits a notable conflict between gift and not-gift economics--between ideal giving and practical commodity exchange. The rules of courtly love, ostensibly designed to ennoble the lover and enable &quot;true&quot; love, in practice disallow unconditional giving and reduce true love to commodity. The theories of Mauss and Derrida can profitably be applied to this text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270001">
    <dcterms:title><![CDATA[&#039;The Dreams in Which I&#039;m Dying&#039;: Sublimation and Unstable Masculinities in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Criseyde is the &quot;fullest subjectivity&quot; in TC. Her resistance to Troilus&#039;s fantasy demonstrates the &quot;constructed nature of masculinity&quot; as shifting and dependent posturing. Koppelman explores Criseyde&#039;s confrontations with the &quot;opaque network&quot; of systems of signification that her role as courtly lady entails.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266217">
    <dcterms:title><![CDATA[&#039;The Elf-queen, with Hir Joly Compaignye&#039;: Chaucer&#039;s &#039;Wife of Bath&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[While the Wife of Bath&#039;s character is proto-feminist, the rape of the maiden and the submission of the woman at the end of WBT point to a dominate patriarchal attitude.  By embedding Arthurian myth into WBT and presenting the Wife as a fictional character, Chaucer scrutinizes gender relations without threatening the patriarchal system]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270311">
    <dcterms:title><![CDATA[&#039;The Fair Maid of Ribblesdale&#039; and the Problem of Parody]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that internal evidence (meter, repetitiveness, exaggeration, etc.) is sufficient to establish that &quot;The Fair Maid of Ribblesdale&quot; is a parody, comparing examples drawn from the poem to similar ones in Chaucer&#039;s MercB, MilT, and, especially, Thop.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265314">
    <dcterms:title><![CDATA[&#039;The Floure and the Leafe&#039;: An Alternative Reading]]></dcterms:title>
    <dcterms:description><![CDATA[Thought to be the work of Chaucer until the 1870s and long read largely for its style, &quot;The Floure and the Leafe&quot; is an ironic allegory warning readers not to &quot;succumb to the deceptions that have befallen both the Flower and the Leaf.&quot; The details and allusions of the poem indicate that it encourages rejection of Fortune.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265961">
    <dcterms:title><![CDATA[&#039;The Franklin&#039;s Tale,&#039; Line 1469: Forms of Address in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the use of the vocative, &quot;thou&quot; and &quot;you&quot; forms, and other &quot;unadorned&quot; forms of address in Chaucer&#039;s works to argue that in FranT Arveragus adopts an authoritative tone in sending Dorigen to meet Aurelius to fulfill her promise.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265088">
    <dcterms:title><![CDATA[&#039;The Franklin&#039;s Tale&#039; and &#039;The Tempest&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[FranT line 5(F).1204 equals &quot;The Tempest&quot; 4.1, &quot;our revels now are ended.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269612">
    <dcterms:title><![CDATA[&#039;The Franklin&#039;s Tale&#039; and the Medieval Trivium: A Call for Critical Thinking]]></dcterms:title>
    <dcterms:description><![CDATA[Dorigen and Arveragus of FranT &quot;demonstrate . . . deficiency in the cognitive skills inculcated by the medieval trivium,&quot; making them &quot;vulnerable to the Orleans clerk&#039;s corruptions of the quadrivium.&quot; Weak critical thinking undermines their ability to behave ethically, and FranT exposes a society in which &quot;elementary reasoning skills have been lost to pseudoscience and thickheaded versions of chivalric honor.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264001">
    <dcterms:title><![CDATA[&#039;The Franklin&#039;s Tale&#039;--Aurelius&#039;s &#039;gentillesse&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[At first lacking in &quot;gentillesse,&quot; Aurelius knows how to insist u0pon his rights, but in the latter half of FranT, he is transformed into a gentle squire.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264419">
    <dcterms:title><![CDATA[&#039;The Franklin&#039;s Tale&#039;: A Narrative]]></dcterms:title>
    <dcterms:description><![CDATA[In spite of an appearance as a tragedy, the tale by the sanguine Franklin quickly arrives at the conclusion of a happy exemplum.  It is the narrator himself who most keenly enjoys the tale.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264176">
    <dcterms:title><![CDATA[&#039;The Franklin&#039;s Tale&#039;: A Story of Unanswered Questions]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer moves away from the Catholic concept of love, which abhors adultery.  FranT is a happy tale in spite of the serious unanswered questions about God and life and love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263988">
    <dcterms:title><![CDATA[&#039;The Friar&#039;s Tale&#039; as a Liminal Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Folklorists describe liminal tales as experiences that are part of a rite of passage from one realm of experience to another.  Viewed thus, FrT assumes new complexities:  it reflects the total pilgrimage experience of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262717">
    <dcterms:title><![CDATA[&#039;The Friar&#039;s Tale&#039; Reconsidered]]></dcterms:title>
    <dcterms:description><![CDATA[FrT is a tale warning Chaucer&#039;s audience about the stupidity of sin.  The Friar tells a story of a foolish summoner who gives in to at least three of the deadly sins.  Stupidity, not wickedness, leads the Summoner to hell.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267270">
    <dcterms:title><![CDATA[&#039;The Goode Wey&#039; : Ending and Not-Ending in The Parson&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[ParsT ends CT but does not bring transcendent closure to the work. In various ways--including several verb forms and other variations from Pennaforte&#039;s &quot;Summa&quot;--ParsPT reaffirm temporality rather than asserting eternality; they focus attention not on eschatology but on the &quot;quotidian time of the Chaucerian audience.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264784">
    <dcterms:title><![CDATA[&#039;The Great Gatsby&#039;: Scott Fitzgerald&#039;s Chaucerian Rag]]></dcterms:title>
    <dcterms:description><![CDATA[The movement of &quot;Gatsby&quot; was compared to that of TC by Nancy Hoffman in 1971.  However, the differences are as significant as the similarities.  Fitzgerald&#039;s story reflects different preoccupations, a different age.  Chaucer created something poised and terrible and elegant.  Fitzgerald produced a story of the 20&#039;s, something equivalent to his own Age of Confusion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265530">
    <dcterms:title><![CDATA[&#039;The Hous of Fame&#039; Revisited]]></dcterms:title>
    <dcterms:description><![CDATA[Treating HF as a performance piece enablies us to better recognize its humor.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271996">
    <dcterms:title><![CDATA[&#039;The House of Fame : Virgilian Reason and Boethian Wisdom]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in HF Chaucer achieves &quot;symbolic cohesion&quot; and unity by combining the narrator&#039;s Virgilian epiphany of a &quot;higher sense of duty&quot; (his response to the Aeneas/Dido exemplum) with the Boethian imagery of philosophical ascent (effected by the eagle). Combined with the dominant concern with journey, these strands together depict the theme of rejecting the passions in favor of &quot;rational ascent to discovery and revelation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262777">
    <dcterms:title><![CDATA[&#039;The House of Fame&#039; and &#039;And&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines various uses and stylistic effects of &quot;and&quot; in HF.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263040">
    <dcterms:title><![CDATA[&#039;The House of Fame&#039;, 26: A Chaucer Reading Restored]]></dcterms:title>
    <dcterms:description><![CDATA[The favored manuscript reading &quot;Prison, stewe, of gret distress&quot; appears in CX1 and TH &quot;Pryson, stryfe, or grete dystress.&quot;  &quot;Stryfe&quot; was often spelled &quot;striue,&quot; and &quot;stewe&quot; can be derived from abbreviated &quot;striue&quot; and not vice versa.  The sense of strife is also found in the collocation in RR 18405-418.  Hence, it seems probable that the CX1 reading is the original.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265396">
    <dcterms:title><![CDATA[&#039;The House of Fame&#039;: Tripartite Structure and Occasion]]></dcterms:title>
    <dcterms:description><![CDATA[Steadman suggests &quot;a possible connection between the fictional date of the poet&#039;s dream, its tripartite structure, the feast of Saint Lucy, and the Dantesque associations of Chaucer&#039;s eagle,&quot; discussing major images and motifs of the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267108">
    <dcterms:title><![CDATA[&#039;The Human Face Divine&#039;: Identity and the Portrait from Locke to Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the Chaucer portraits in the Ellesmere manuscript and in Hoccleve&#039;s Regement of Princes as evidence in the study of the development of individual identity. Considers literary portraits of John Locke, John Milton, John Donne, and Chaucer, suggesting that the threshold between &quot;modernity and premodernity&quot; may not be as clear as sometimes thought. 13 b&amp;w figs.]]></dcterms:description>
</rdf:Description></rdf:RDF>