<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/265405">
    <dcterms:title><![CDATA[Figuring Criseyde&#039;s &#039;Entente&#039;: Authority, Narrative, and Chaucer&#039;s Use of History]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the ambiguous character of Criseyde in TC 4.  Chaucer gives her a point of view only to call her morality into question and he provides a sense of history that he never allows her fully to understand.  TC is a &quot;feminist work that fails to liberate women.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262524">
    <dcterms:title><![CDATA[Figuring Out Women: Chaucer&#039;s Reading of the Antifeminist Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Inheriting the tradition that women were either saintly or satanic, Chaucer grasped the opposition between rhetorical and mimetic treatment, as shown especially in LGW and ManT. Robinson applies medieval and modern feminist theories.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266574">
    <dcterms:title><![CDATA[Figuring Subjectivity in &#039;Piers Plowman C,&#039; the Parson&#039;s &#039;Tale,&#039; and &#039;Retraction&#039;: Authorial Insertion and Identity Poetics]]></dcterms:title>
    <dcterms:description><![CDATA[Like the fifth &quot;passus&quot; in the C-text of &quot;Piers Plowman,&quot; ParsT and Ret use confession as a means of inscribing the author&#039;s identity within the poem.  Langland&#039;s &quot;autobiographical&quot; passage--part confession, part &quot;apologia&quot;--integrates his subjectivity into the poem as the penitent is integrated into the Church.  Similarly Ret, in the context of ParsT, creates an identity for Chaucer through a negotiation of power between author and institution.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273514">
    <dcterms:title><![CDATA[Figuring the Dangers of the &quot;Greet Forneys&quot;: Chaucer and Gower&#039;s Timely (Mis)reporting of the Peasant Voice.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the Miller (whose mouth is compared to &quot;a greet forneys&quot; in GP) in the context of representations of rebel peasants in the chronicles of Thomas Walsingham, Henry Knighton, Jean Froissart, and the Anonimalle chronicler, as well as in Gower&#039;s &quot;Vox clamantis&quot; (Book I). The trope of fire links the peasants&#039; literarily censored speech to the Miller&#039;s furnace-like mouth, but the Miller&#039;s subversive words are represented within the aristocratically acceptable genre of the fabliau, reinforcing how Chaucer acknowledges sociopolitical danger, but renders it comic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268837">
    <dcterms:title><![CDATA[Filming the Seven Deadly Sins--Chaucer, Hollywood and the Postmodern Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Johnston compares uses of medieval details, anachronisms, and hermeneutic concerns in two films (Brian Helgeland&#039;s &quot;A Knight&#039;s Tale&quot; and David Fincher&#039;s &quot;Seven&quot;) and Umberto Eco&#039;s novel, &quot;The Name of the Rose.&quot; Includes attention to Chaucer references and allusions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267961">
    <dcterms:title><![CDATA[Final -e and Spelling Habits in the Fifteenth-Century Versions of the Wife of Bath&#039;s Prologue and Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Examines all fifteenth-century witnesses of WBP, which are available on CD-Rom (SAC 20 [1998], no.11). Some scribes still had a system for the use of final -e, here studied in strong and weak adjectives in early, mid-, and late-fifteenth-century copies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274689">
    <dcterms:title><![CDATA[Final -e in Gower&#039;s English Poetry, in Comparison with Chaucer&#039;s.]]></dcterms:title>
    <dcterms:description><![CDATA[Tabulates evidence of the greater regularity of stress in Gower&#039;s verse than in Chaucer&#039;s, particularly in nouns and adjectives that feature the apocope of final unstressed -e. Attributes this regularity to the influence of Gower having written French verse, and calls for more thorough exploration of this and related phenomena.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274698">
    <dcterms:title><![CDATA[Final &quot;-e&quot; in Gower&#039;s and Chaucer&#039;s Monosyllabic Premodifying Adjectives: A Grammatical/Metrical Analysis.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers several factors (apocope, compounding, etymology, and metrical environment) in the presence or absence of final &quot;-e&quot; in Gower&#039;s and Chaucer&#039;s monosyllabic adjectives, clarifying Gower&#039;s relative regularity by identifying the paucity of exceptions to his usual practice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274169">
    <dcterms:title><![CDATA[Finding a Medievalist Narratology in Chaucer: Reinvention in &quot;The Wife of Bath&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on the relationship between WBT and its analogue, &quot;The Wedding of Sir Gawain and Dame Ragnelle,&quot; to show how such a study traces cultural shifts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276230">
    <dcterms:title><![CDATA[Finding Joy in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers joy to be the &quot;climactic centre&quot; of TC, addressing the presence and forms of joy &quot;in the poem&#039;s construction of language, themes, and characters&quot; and assessing &quot;whether joy, in medieval culture, is a physical emotion, an affective state, a philosophical value, or a spiritual destination.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274719">
    <dcterms:title><![CDATA[Finding Pragmatic Common Ground between Chaucer&#039;s Dreamer and Eagle in &quot;The House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the pragmatic linguistic devices Chaucer uses to establish a common ground of communication and &quot;create convincing exchanges&quot; between the Dreamer and the Eagle in HF, identifying and analyzing various concerns: &quot;back-channel,&quot; lexicon, &quot;turn-taking,&quot; &quot;polarizing,&quot; and more.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270272">
    <dcterms:title><![CDATA[Finger of God: Religious Thought and Themes in Literature from Chaucer to Kafka]]></dcterms:title>
    <dcterms:description><![CDATA[In a section called &quot;Springtime in the Canterbury Tales: Chaucer&#039;s Inheritance of the Sacred and the Profane&quot; (pp. 1-26), tallies a number of classical and medieval attitudes toward spring and comments on Chaucer&#039;s various allusions to and images of spring, Easter, and the months of March, April, and May in CT--devices he uses to &quot;present his characters as truly human creatures.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262643">
    <dcterms:title><![CDATA[Fingierte Mundlichkeit : Erzahler im mittelenglischer Literatur]]></dcterms:title>
    <dcterms:description><![CDATA[Kohl examines conscious &quot;orality&quot; and appeals to the reader by narrators in the poetry of Ricardian authors:  Gower, the &quot;Gawain&quot; poet, and others, including Chaucer (CT, TC, PF, LGW, and HF).  With the introduction of unreliable narrators, the function of literature changed.  Ricardian poets did not teach; rather, they forced the audience to reach their own moral conclusions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273953">
    <dcterms:title><![CDATA[Finistere]]></dcterms:title>
    <dcterms:description><![CDATA[Describes late-medieval Breton political status and summarizes the region&#039;s literary production in Breton and in French, commenting on drama, Arthurian materials, and religious literature. Includes discussion of the setting of FranT in Brittany as evidence that Chaucer &quot;knew a great deal about the duchy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266868">
    <dcterms:title><![CDATA[Fire and Blood: &#039;Queynte&#039; Imaginings in Diana&#039;s Temple]]></dcterms:title>
    <dcterms:description><![CDATA[In KnT, Chaucer&#039;s use of the word &quot;queynte,&quot; the dying and quickening fires in the temple, and the spurting and spewing of the flames to &quot;suggest parturition, life&#039;s uncertainty and tenuousness and even menstruation.&quot; Emelye&#039;s tears at the sight of the fires may indicate her &quot;elemental fear of entry&quot; into a world in which these aspects are a part.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267999">
    <dcterms:title><![CDATA[Fire in the House: Ralph Waldo Emerson&#039;s Misreading of Lines 1139-45 in Chaucer&#039;s Wife of Bath&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Emerson&#039;s allusion in &quot;The Poet&quot; to the lecture on gentility in WBT attributes the sentiment to Chaucer (rather than to the Wife), concentrates on the fire&#039;s brightness, and suggests that the passage refers to &quot;good blood in mean condition.&quot; Since Emerson&#039;s purpose was to comment on the role of poets in social liberation, he probably recognized his misreading and used it deliberately.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275525">
    <dcterms:title><![CDATA[First Encounter: &quot;Snail-Horn Perception&quot; in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Troilus&#039;s and Criseyde&#039;s first looks at one another in TC as examples of physiological sense perception, rather than as mental or emotional processes or stages. Resists feminist and patristic readings of these gazes, and reads them in light of medieval philosophy, arguing that Chaucer, through them, &quot;first conveys the physiological and phenomenological processes by which an animal cognises the world; and, second, how those processes are complicated when perception becomes social.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273102">
    <dcterms:title><![CDATA[First Phases]]></dcterms:title>
    <dcterms:description><![CDATA[Includes brief commentary on the medieval use of &quot;incipits,&quot; with specific reference to TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267219">
    <dcterms:title><![CDATA[Fists and Foliations in Early Chaucer Folios, 1532-1602]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the printer&#039;s copy for most of Thomas Speght&#039;s 1602 edition of Chaucer&#039;s works was not only a copy of the 1561 edition but &quot;the same copy as was previously marked up to serve as printer&#039;s copy for the 1598 edition.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Joseph A. Dane, Out of Sorts: On Typography and Print Culture (Philadelphia: University of Pennsylvania Press, 2011), pp. 105-117,]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271128">
    <dcterms:title><![CDATA[Five Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Pedagogical workbook for language learners of modern English, centered on modern prose adaptations of selections from CT (GP, KnT, MerT, ClT, FranT, WBT), with accompanying vocabulary exercises and comprehension activities. Illustrated by Natalia Demidova, with additional photographs and movie stills.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272175">
    <dcterms:title><![CDATA[Five Genres in the &#039;Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how and where features of various genres inform the characterization, tone, atmosphere, and meaning of ClT, treating it as a scene in the &quot;Canterbury drama,&quot; an exemplum of worldly and cosmic obedience, a fairy tale, a realistic novella, and an anagogic figurative narrative. Includes recurrent attention to Chaucer&#039;s sources in Boccaccio and Petrarchan, to Marian imagery, and to the Clerk as humorist.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270542">
    <dcterms:title><![CDATA[Five Hundred Years of English Poetry: Chaucer to Arnold]]></dcterms:title>
    <dcterms:description><![CDATA[Selections from the works of twenty-two English poets, accompanied by brief introductions and notes, with a glossary of poetic terms and first-line index.  The section pertaining to Chaucer (pp. 17-104) includes GP, WBPT, PardPT, and NPPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271120">
    <dcterms:title><![CDATA[Five One-Act Plays]]></dcterms:title>
    <dcterms:description><![CDATA[Includes &quot;A Canterbury Tale&quot; (pp. 91-113), a play that presents a fictional account of events that inspired Chaucer to write the CT, framed as a meeting between Chaucer and Simon Burley on the occasion of Burley&#039;s arrest. Also published as a standalone play: &quot;A Canterbury Tale: A Play in One Act&quot; (Cardiff: Drama Association of Wales, 2010).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277358">
    <dcterms:title><![CDATA[Five Songs for Soprano (Mezzo Soprano) &amp; Clarinet.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record indicates that this includes a musical score for &quot;Now welcome, somer&quot; (PF, 680ff.).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271079">
    <dcterms:title><![CDATA[Five Tales From Chaucer: A Collection of Five Playlets Adapted from &quot;Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Adaptations in modern prose of five shortened selections from CT, designed for staging. Includes NPT, ClT, RvT, WBT, and PardT.]]></dcterms:description>
</rdf:Description></rdf:RDF>