<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/266116">
    <dcterms:title><![CDATA[Fictions of Advice: The Literature and Politics of Counsel in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Outlines the mixture of authorial deference and criticism within a mostly English mirror-for-princes tradition, from the &quot;Secretum secretorum&quot; to Machiavelli.  Historicizes the works of James Yonge, John Gower, and Thomas Hoccleve within particular political contexts, assessing the ruler/counsellor agency established in each case. For a chapter that pertains to Chaucer, search for Fictions of Advice under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268711">
    <dcterms:title><![CDATA[Fictions of Belief in the Worldmaking of Geoffrey Chaucer, Sir Philip Sidney, and John Milton]]></dcterms:title>
    <dcterms:description><![CDATA[As in the worlds of Sidney&#039;s &quot;Arcadia&quot; and Milton&#039;s &quot;Paradise Lost,&quot; the fictive world of TC is grounded in a key ethical concept. According to Bergquist, &quot;Kynde or nature is the making and undoing of both Criseyde and the fiction that contains her.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271101">
    <dcterms:title><![CDATA[Fictions of Business: Insights on Management from Great Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Chapter two, &quot;Selling on a Grand Scale, Playing to an Image-Conscious Society&quot; (pp. 35-59), includes discussion of the Merchant as a &quot;self-made man&quot; who relies on his image of success. Assesses the GP description and compares the character to Horatio Alger&#039;s Ragged Dick, Melmotte from Anthony Trollope&#039;s novel &quot;The Way We live Now,&quot; and modern analogues. Also includes comments on commerce and profit-seeking in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275938">
    <dcterms:title><![CDATA[Fictions of Espionage: Performing Pilgrim and Crusader Identities in the Age of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s critique of &quot;curiositas&quot; as &quot;the prevailing failure and motivation of medieval travel&quot; is &quot;successfully negotiated&quot; by several late medieval travel authors. Concentrates on readings from travel accounts by Simon Simeonis and Thomas Brygg, to demonstrate the range of possibilities for pilgrim-narrators.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273154">
    <dcterms:title><![CDATA[Fictions of Evidence: Witnessing, Literature, and Community in the Late Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on devotional and legal &quot;witnessing practices&quot; of the late Middle Ages. Chapter 2, &quot;The Face of a Saint and the Seal of a King,&quot; reveals how the Man of Law presents &quot;episodes of false witness&quot; in MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274784">
    <dcterms:title><![CDATA[Fictions of the Island: Girdling the Sea.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts Custance of MLT with her source in Trevet&#039;s &quot;Cronicles,&quot; exploring the depictions of the sea in the two poems as well, arguing that women and water are tamed by &quot;providential control&quot; in Chaucer, especially when seen in light of Alatiel of Boccaccio&#039;s &quot;Decameron&quot; and of the &quot;desire to domesticate the sea&quot; in Lydgate&#039;s &quot;Mumming for the Mercers of London.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277366">
    <dcterms:title><![CDATA[Fictions of Witness in the &quot;Confessio Amantis.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the manuscripts of John Gower&#039;s &quot;Confessio Amantis&quot; as evidence of his status and role in the production of Lancastrian literature and propaganda, challenging long-held assessments of the dates and sequence of the manuscripts and what they reflect about Gower&#039;s intentions and his reception. Includes comments on Gower&#039;s relations with Chaucer, issues of &quot;laureation&quot; and scribal activities that pertain to the works of both poets, and Venus&#039;s praise of Chaucer in some manuscripts of the &quot;Confessio.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270571">
    <dcterms:title><![CDATA[Fiery Tales: A Comic Opera in One Act]]></dcterms:title>
    <dcterms:description><![CDATA[Piano and vocal score for opera in nine voices, with alternating scenes based on the plots of MilT and RvT; libretto by Gwen Harwood.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276490">
    <dcterms:title><![CDATA[Fifteenth Century: Fathering Chaucer. Thoreau, Hoccleve, Lydgate, and the Invention of the First English Author]]></dcterms:title>
    <dcterms:description><![CDATA[Explores nuances in the tradition of attributing paternal authority to Chaucer as a poet, focusing on Thoreau, Hoccleve, and Lydgate, and disclosing differing ways in which they represent his authority and appropriate it to assert their own self-authorizations. Includes comments on the ambiguity of literary authority in WBPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275864">
    <dcterms:title><![CDATA[Fifteenth-Century Chaucerian Visions.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies why &quot;The Flower and the Leaf,&quot; &quot;The Assembly of Ladies,&quot; &quot;La Belle Dame sans Mercy&quot; and &quot;The Isle of Ladies&quot; are described as &quot;Chaucerian,&quot; noting their attribution to Chaucer in manuscripts and early printed editions, describing their aesthetic features, and commenting on connections between the poems and Chaucer&#039;s own.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269025">
    <dcterms:title><![CDATA[Fifteenth-Century Collections of Female Saints&#039; Lives]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the contents of Cambridge University Library MS Additional 4122 with similar contemporary compilations, encouraging further study of such devotional collections. The presence of Chaucer&#039;s SNT in such anthologies may indicate his shaping influence on the tradition, later modified by Lydgate, Bokenham, and Capgrave.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267901">
    <dcterms:title><![CDATA[Fifteenth-Century Complaints and Duke Humphrey&#039;s Wives]]></dcterms:title>
    <dcterms:description><![CDATA[Examines two mid-fifteenth-century complaints that reflect public distrust of Humphrey, duke of Gloucester, arguing that these complaints are more Lydgatian than Chaucerian, since Chaucer&#039;s own complaints had little influence at the time. An appendix includes the two poems.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263912">
    <dcterms:title><![CDATA[Fifteenth-Century Drama: The Early Moral Plays and Their Literary Relations]]></dcterms:title>
    <dcterms:description><![CDATA[Tragedy, comedy, debate, mask, and theatrical &quot;epic&quot; are found in fifteenth-century drama.  Davenport explores factors to explain the scope, style, and variety.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268567">
    <dcterms:title><![CDATA[Fifteenth-Century English Dream Visions: An Anthology]]></dcterms:title>
    <dcterms:description><![CDATA[Texts, notes, and introductions to Lydgate&#039;s &quot;Temple of Glass&quot;; James I of Scotland&#039;s &quot;The Kingis Quair&quot;; Charles of Orleans&#039;s &quot;Love&#039;s Renewal&quot;; &quot;The Assembly of Ladies&quot;; and Skelton&#039;s &quot;The Bouge of Court&quot;. The general introduction and the introductions to individual poems clarify textual issues and Chaucer&#039;s influence. Includes a selective bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267589">
    <dcterms:title><![CDATA[Fifteenth-Century Middle English Verse Author Collections]]></dcterms:title>
    <dcterms:description><![CDATA[Evidence from late-medieval English verse collections indicates that the conception of an individual author&#039;s corpus was slow developing, not crystalizing until the 1532 printing of Chaucer&#039;s Works. Earlier manuscript collections of Chaucer (and other writers) suggest a &quot;general anthologizing tendency&quot; unlike the notion of authorship that underlies the printing of single-author collections.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268554">
    <dcterms:title><![CDATA[Fifteenth-Century Owners of Chaucer&#039;s Work : Cambridge, Magdalene College MS Pepys 2006]]></dcterms:title>
    <dcterms:description><![CDATA[Pepys MS 2006 contains a unique grouping of Mel, ParsT, Truth, and Scog. Written by two scribes, it displays the names of John Kyriell (gentry) and William Fettyplace (London mercer). The two social classes of Kyriell and Fettyplace indicate either a broadening of the readership of Chaucer&#039;s works or a decline in the status of his readers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267967">
    <dcterms:title><![CDATA[Fifteenth-Century Rhythmical Changes]]></dcterms:title>
    <dcterms:description><![CDATA[Cable laments deterioration in the understanding of Chaucer&#039;s meter. He argues that too little attention has been paid to the loss of final -e in the fifteenth century, leading to misreading the poetry of Lydgate, Hoccleve, Barclay, and Hawes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263623">
    <dcterms:title><![CDATA[Fifteenth-Century Studies: Recent Essays]]></dcterms:title>
    <dcterms:description><![CDATA[Essays on reviews of scholarship, language and paleography, and literary criticism. For four essays that pertain to Chaucer, search for Fifteenth-Century Studies: Recent Essays under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275423">
    <dcterms:title><![CDATA[Fifty Great Poets.]]></dcterms:title>
    <dcterms:description><![CDATA[On pp. 67-83 this anthology includes WBP in Theodore Morrison&#039;s modern verse translation and the ballade from LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276132">
    <dcterms:title><![CDATA[Fighting Force with Force: How the Reeve Makes His Day; or, Chaucer Stands His Ground among Jurists Past and Present.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies parallels between the legal maxims of RvPT and the commentaries of medieval canon and civil law, including ones by Giovanni da Legnano (cited in ClT, 34) and a pair of canonists named (in Latin) Aleyn and John. Focuses on laws that pertain to defamation and self-defense, issues that relate to the Miller/Reeve exchange of tales and to Simkyn, Aleyn, and John. Includes comments on legal study in the medieval King&#039;s Hall, Cambridge, and stand-your-ground arguments in the twenty-first-century USA.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277241">
    <dcterms:title><![CDATA[Figurações do Humor em Geoffrey Chaucer--Uma Leitura de &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Revised version of &quot;Humor e Ironia em Geoffrey Chaucer: O Conto do Molerio X O Conto do Feitor&quot; (2013)]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276357">
    <dcterms:title><![CDATA[Figural Imitation in English Renaissance Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes between medieval and Renaissance versions of poetic &quot;figural imitation.&quot; In the former, identified by Erich Auerbach, the &quot;poetic image participates in two modes of reality at the same time: historical and absolute&quot;: in the latter, it participates in the world of nature and an ideal. Draws contrasting examples from Dante and from English Renaissance writers, with a brief commentary on GP, the Wife of Bath, and the pilgrimage as examples of the transition from medieval to Renaissance, particularly in relations between the &quot;authority of experience and the authority of tradition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264632">
    <dcterms:title><![CDATA[Figurative Patterns in the Poetry of Chaucer with Special Reference to &#039;Troilus and Criseyde&#039; and Selected &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[For Chaucer, a poem was an imaginative focus for the representation of a larger pattern of experience.  The patterns created by the opposing figures of speech in his poetry (the concrete and empirical/the archetypal) reflect a complex sense of duality, and are used to create a perspective which is characteristically inclusive, moving from everyday, earthly life to the realm of the abstract and the spiritual.]]></dcterms:description>
    <dcterms:description><![CDATA[The spiral-like circular pattern in TC stands for a view of history and of human experience which is perceived in a series of cycles that do not repeat themselves but move gradually to completion.  In CT, rhetoric and style work their variations from one teller to the next as each view of experience gives way to another.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275017">
    <dcterms:title><![CDATA[Figures for &quot;Gretter Knowing&quot;: Forms in the &quot;Treatise on the Astrolabe.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Claims that Astr shares with Chaucer&#039;s &quot;literary&quot; works a deep conceptual investment in form and is more than a technical manual. Astr layers textual, celestial, and technological forms (book, cosmos, and astrolabe) in a dynamic relationship with Lowys&#039;s body.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268964">
    <dcterms:title><![CDATA[Figures of Olde Werk : Chaucer&#039;s Poetic Sculptures]]></dcterms:title>
    <dcterms:description><![CDATA[Minnis considers possible sources or inspirations for Chaucer&#039;s techniques of describing the architecture and statuary in the Temple of Venus of HF, surveying previous scholarship. Despite the possible influence of actual art and architecture or the descriptions in guidebooks to Rome, descriptions in mythographic tradition are the most likely sources, although Chaucer did not include the allegorizations found there.]]></dcterms:description>
</rdf:Description></rdf:RDF>