<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/264820">
    <dcterms:title><![CDATA[Form and Social Statement in &#039;Confessio Amantis&#039; and &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Gower&#039;s &quot;Confessio&quot; and Chaucer&#039;s CT reflect a process of mediation in which problematic social realities are restated or reconceived.  The two writers treat two medieval aesthetics, unity-in-diversity and hierarchies, though Chaucer encourages contrary possibilities while Gower seeks to reconcile old forms and new content.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264441">
    <dcterms:title><![CDATA[Form, Content and Context in The Nun&#039;s Priest&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[An explication of NPT, analyzing it within its historical context.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276507">
    <dcterms:title><![CDATA[Form, Time, and the &quot;First English Sonnet.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers John Metham&#039;s &quot;sonnet,&quot; which presents the first sonnet-like form in English. While disputing that Metham&#039;s poem should be viewed as the first sonnet in English, its similarities and interpretations help to advance considerations about form that illuminate later English sonnets. Includes brief comments on Chaucer and the sonnet form.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264322">
    <dcterms:title><![CDATA[Formal Analysis of Traditional Fictions]]></dcterms:title>
    <dcterms:description><![CDATA[The Levi-Strauss formula for the structure of myth can be applied to analogues of ShT to illuminate disputed interpretations.  In a list of similar actions in columns, not chronological, the ShT shows eight implications of the Levi-Strauss formula.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272718">
    <dcterms:title><![CDATA[Formal Elements in the Late Medieval Courtly Love Lyric]]></dcterms:title>
    <dcterms:description><![CDATA[Considers lyric poems &quot;not as statements but as imitation of statements,&quot; and includes discussion of the &quot;Brooch of Thebes&quot; (i.e., Chaucer&#039;s Mars and Ven). Also comments on Chaucer&#039;s relations with Eustace Deschmaps and Oton de Grandson.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271535">
    <dcterms:title><![CDATA[Formation of Medieval Female Subject Consciousness: A Study of Italian and English Mystics, Christine De Pizan, Boccaccio, and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Considers WBPT and SNPT, along with woman writers of the 13th-15th centuries, as part of the development of a female &quot;subject consciousness.&quot; Also examines Grisilde in ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277176">
    <dcterms:title><![CDATA[Forming Pity: Responses to Suffering in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Presents the role of pity as an &quot;essential virtue&quot; that does not negate suffering in TC; claims that Chaucer shifts language as a way to understand the &quot;complex social and subjective position of pity&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275723">
    <dcterms:title><![CDATA[Forms and Celestial Motion in Chaucer&#039;s &quot;Complaint of Mars.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the relations between the planetary event and perspectives on it in Mars as analogous to those between form and interpretation in new formalist literary analysis. In Mars the celestial motion of the geocentric universe is subject to the &quot;standards of individual perception,&quot; enabling &quot;a metacommentary on the [literary] forms that emerge&quot; during close reading and generating awareness of the &quot;temporary impressions that poetry produces as it is read and the larger patterns that actually govern its structure.&quot; Includes comments on Troilus&#039;s watching the moon in TC, V.648–51.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272483">
    <dcterms:title><![CDATA[Forms of Living: Asceticism, Culture, and Articulating the &#039;Medeled Liyf&#039; in Late Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Using ClT and other texts, looks at the intersection of asceticism and secular lifestyles.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274037">
    <dcterms:title><![CDATA[Forms of Mediation: Chaucer, Spenser and English Literary History.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Spenser&#039;s perception of Chaucer as inspiration, influence, and creator whose creations have themselves been mediated by other writers and society.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273186">
    <dcterms:title><![CDATA[Forms of Perspective and Chaucer&#039;s Dream Spaces: Memory and the Catalogue in &#039;The House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines three interiors within HF, and the use of the &quot;catalogue&quot; as a way of articulating and revealing the spatial relationships within the poem. Compares the &quot;navigation of space&quot; in HF to classical and medieval techniques of a &quot;memory palace.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276997">
    <dcterms:title><![CDATA[Forms of Shame: Gower, Chaucer, Hoccleve.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;the vernacular literature of late medieval England contributes importantly to the theorizing of psychological subjectivity and that this theorizing is connected fundamentally with the history of shame&quot;; focuses on selected works by Chaucer, John Gower, and Thomas Hoccleve.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269830">
    <dcterms:title><![CDATA[Forms of Speculation: Religious Genres and Religious Inquiry in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Sisk contends that a number of late medieval works, including Fragment 8 of CT, &quot;obliquely&quot; address contemporary religious issues. These works mark a departure from more traditional (and clearly didactic) religious treatises and may even suggest that these texts merit further consideration as witnesses to intellectual history.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269372">
    <dcterms:title><![CDATA[Forms of Standardization in Terms for Middle English Lyrics in the Fourteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the terms - &quot;song,&quot; &quot;dite,&quot; &quot;tretyse,&quot; etc. - used for short poems in Middle English, including terms in Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261357">
    <dcterms:title><![CDATA[Forms of Talk in The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the ways CT problematizes the medium of speech and, through its self-conscious narrators, comments on the changing value of spoken language.  Though Chaucer preserves and allows resistance to the tyrannies of high literary  form, his relation to the poetry of common speech is problematic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277437">
    <dcterms:title><![CDATA[Forms of Writing, Forms of War: England, Scotland, France c. 1300–1450.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;the nascent art of international relations . . . among England, Scotland, and France, creates a heightened awareness of the connections between literary and political mediation central to the distinct textures of medieval wartime.&quot; Explores examples in literary and historical texts and treats Chaucer as an &quot;emblematic figure&quot; of such mediation in various works, especially KnT, MLT, and TC. A version of Chapter 4, &quot;&#039;Wereyed on every side&#039;: Chaucer&#039;s Troilus and Criseyde and the Logic of Siege Warfare,&quot; was published under the same title in New Medieval Literatures 20 (2020): 74-106.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271563">
    <dcterms:title><![CDATA[Formule, surface et profondeur dans &#039;Sir Thopas&#039; et &#039;Le Conte de Mellibée&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the type, use, and functions of formulas in Th, in relation to parody; in Mel, in dramatic form reinforcing allegory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269254">
    <dcterms:title><![CDATA[Forsworn and Fordone: Arcite as Oath-Breaker in the Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Arcite breaks his oath of brotherhood with Palamon, the promise he made to Theseus never to return to Athens, and the code of knighthood by doing menial labor disguised as a &quot;povre laborer.&quot; The &quot;ignoble, freakish manner of [his] death&quot; thus suits the manner of his living.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271189">
    <dcterms:title><![CDATA[Forth Pilgrim, Forth: Cantata for Baritone and Orchestra]]></dcterms:title>
    <dcterms:description><![CDATA[Score for voice and orchestra in forty-two bars (fifteen minutes). The text that accompanies the score, compiled from twenty-six lines selected from KnT and Truth by Daphne Burgess, is given in Middle English; a modern &quot;paraphrase&quot; also included.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263993">
    <dcterms:title><![CDATA[Fortitude and Sloth in the &#039;Wife of Bath&#039;s Tale&#039; and the &#039;Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Clerk and his tale serve as a corrective to the Wife of Bath&#039;s philosophy by &quot;exploiting a fictional and moral failure of nerve on the Wife&#039;s part,&quot; since it is not realism but weakness that motivates the Wife.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273773">
    <dcterms:title><![CDATA[Fortuna and Natura: A Reading of Three Chaucer Narratives.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the &quot;dynamic relationship&quot; between Fortuna and Natura in PhyT, ClT, and KnT, surveying in an Introduction (pp. 9-45) their presence elsewhere in Chaucer&#039;s works and his antecedents. In PhyT which &quot;approaches allegory&quot; the &quot;destructive forces of Fortuna&quot; are implied and &quot;roundly defeated,&quot; while &quot;Nature&#039;s love, though overt, is &quot;not always sufficient for human need.&quot; Walter and Griselda in ClT &quot;dramatize the differences between Fortuna&#039;s fickle tyranny and Natura&#039;s stable love,&quot; although Griselda transcends nature. Less schematic and more ambiguous than the other two Tales, KnT capitalizes on the opposition between nature and fortune to reinforce a Boethian outlook in &quot;delicate&quot; ways. The volume is concerned with source relations throughout.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267563">
    <dcterms:title><![CDATA[Fortune and the Lady : Machaut, Chaucer and the Intertextual &#039;Dit&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes how contemporary intertextual theory complicates traditional notions of source relations. Surveys intertextual relations in Chaucer&#039;s works, especially examples where, by failing to &quot;include the conclusion&quot; from his source(s), Chaucer provokes deep engagement from his audience. Machaut&#039;s Fortune presents a very complex &quot;palimpsest&quot; for the depiction of Fortune in BD because Chaucer knew and capitalized on Machaut&#039;s relations with Boethius and the Roman de la Rose--themselves &quot;inherently unstable&quot; texts. Phillips also draw examples from TC, WBP, and other Chaucerian works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269746">
    <dcterms:title><![CDATA[Fortune and the Sinner: Chaucer, Gower, Lydgate, and Malory&#039;s &#039;Morte Darthur&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Depictions of Fortune and Fortune&#039;s effects in Malory&#039;s Morte Darthur have much in common with depictions in works by his English predecessors. Corrie comments on Chaucer&#039;s Bo, TC, KnT, and MkT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272512">
    <dcterms:title><![CDATA[Fortune or Free Will in Chaucer&#039;s &#039;Troilus and Criseyde&#039;: How Fortune &#039;Pleyeth with Free and Bonde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Though medieval orthodoxy insisted on the reality of free will, TC presents three characters subject to fortune at every turn, perhaps because they are pre-Christian pagans.  Troilus is a victim of fortune from the moment he sees Criseyde.  Pandarus is similarly enchained, but achieves a kind of agency by taking up Troilus&#039; cause with Criseyde, whose compliant nature he manipulates shamelessly. History itself is another of Fortune&#039;s agents as the tragedy unwinds.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272273">
    <dcterms:title><![CDATA[Fortune, Nature, and Grace in Chaucer&#039;s &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the literary and philosophical backgrounds of fortune, nature, and grace, and assesses their roles in CT, with particular attention to PhyT, PardT and the unity of Part 6. Includes an appendix that explores nineteen analogues to PardT]]></dcterms:description>
</rdf:Description></rdf:RDF>