<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/272017">
    <dcterms:title><![CDATA[Forum: The Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Critiques Morton W. Bloomfield&#039;s &quot;The Man of Law&#039;s Tale: A Tragedy of Victimization and a Christian Comedy,&quot; commenting on the artistic quality of MLT and the Man of Law as narrator.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270292">
    <dcterms:title><![CDATA[Forum: The Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[An exchange of letters in the PMLA Forum section that comment on the characterization of the Wife of Bath and the role of sources (especially Jerome) and historical contexts in understanding the character.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275447">
    <dcterms:title><![CDATA[Fostering Medieval Studies within &quot;Sondry&quot; General Education Curricula.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers how to attract students to medieval courses in minority-serving institutions, particularly general education courses. Includes description of a course that juxtaposes CT with Ibn Battuta&#039;s &quot;The Rihla.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267028">
    <dcterms:title><![CDATA[Four Eighteenth-Century Moderizations of The Shipman&#039;s Tale as Audiovisual Performance]]></dcterms:title>
    <dcterms:description><![CDATA[Examines select passages of moderizations of ShT by John Markland, Henry Travers, Andrew Jackson, and William Lipscomb for how their diction, imagery, and emphases encourage us to approach the Tale as &quot;implied performance.&quot; All four interpret and develop the audio and visual aspects of the work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276356">
    <dcterms:title><![CDATA[Four essays on Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. A WorldCat record indicates that the four essays, addressed to high school students, consider CT under the following titles: &quot;Chaucer, Society and the General Prologue,&quot; &quot;Chaucer and Medieval Thought,&quot; &quot;Chaucer and Medieval Tradition,&quot; and &quot;Chaucer and His Pilgrims.&quot; Illustrated by &quot;Essell.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274999">
    <dcterms:title><![CDATA[Four Fragments from &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[A musical performance of Tremble&#039;s &quot;Four Fragments from &#039;The Canterbury Tales&#039;&quot; (GP, 1–42; GP descriptions of Knight and Squire; and WBP, 1–34), performed by Joanna Cowan White, Kennen White, Tracy Watson, Elissa Johnston, Mary Jo Cox, and Takeshi Abo.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273742">
    <dcterms:title><![CDATA[Four Fragments from the &quot;Canterbury Tales&quot; by Geoffrey Chaucer (c. 1340-1400): High Voice and Flute, Clarinet, Harpsichord (Piano).]]></dcterms:title>
    <dcterms:description><![CDATA[Four-part musical score for selections (in Middle English) from GP, 1-42, the GP descriptions of the Knight and the Squire, and WBP 3.1-34. The introductory materials include comments on expression, tone, and pronunciation, with Trimble&#039;s remark that &quot;utter accuracy in pronunciation&quot; need not be achieved. WorldCat records indicate that the score was first printed in 1958 (in facsimile), and that sound recordings were published in 2001 and 2017.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271021">
    <dcterms:title><![CDATA[Four Fragments from the Canterbury Tales for High Voice and Flute, Clarinet, and Harpsichord (1967)]]></dcterms:title>
    <dcterms:description><![CDATA[Audio recording, performed by Nancy Armstrong (soprano), Mark Kroll (harpsichord), Bruce Creditor (clarinet), and Alan Weiss (Flute).  The lyrics adapt selections from GP (opening, Knight, and Squire) and WBP. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265228">
    <dcterms:title><![CDATA[Four Last Things: Death, Judgment, Heaven, and Hell in the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Ten essays on topics related to medieval notions of afterlife, including several on Langland, Hoccleve, Gower, and Chaucer. For two essays that pertain to Chaucer, search for Four Last Things under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265476">
    <dcterms:title><![CDATA[Four Poems by Cynthia Kraman]]></dcterms:title>
    <dcterms:description><![CDATA[Includes two poems--&quot;Chaucer at Aldgate&quot; and &quot;Chaucer at Park House&quot;--that fictionalize moments in Chaucer&#039;s life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272891">
    <dcterms:title><![CDATA[Four Seasons Songs: S.A.T.B. with Piano, Optional Flute and String Bass]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; WorldCat records indicate that this four-part score includes the text of &quot;Now Welcome Summer&quot; (a translation of PF 680-92), set to music, along with other scored seasonal texts by Keats (autumn), Shakespeare (winter), and Thomas Nashe (spring).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261653">
    <dcterms:title><![CDATA[Fourteenth Century Crisis Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys CT and contemporary works for their reflections of social turmoil.  CT reflects Chaucer&#039;s views of social order as properly based on class structure and the ultimate goal of salvation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262664">
    <dcterms:title><![CDATA[Fourteenth- and Fifteenth-Century Writers as Readers of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s &quot;multiplicity of competing voices&quot; has encouraged modern critics to focus on his &quot;openness.&quot;  Strohm examines reader reception of Chaucer in contemporaries and followers: Clanvowe, Scogan, Lydgate, and Henryson.  Clanvowe, like Chaucer, writing with &quot;pragmatic freedom&quot; and &quot;unshaped by social expectation,&quot; adopted Chaucer&#039;s &quot;multi-vocal&quot; style.  ]]></dcterms:description>
    <dcterms:description><![CDATA[Lacking such freedom, the fifteenth-century poets showed appreciation for Chaucer&#039;s complex perspectives but, in a &quot;situation which encouraged ethically unequivocal verse,&quot; adopted a &quot;single-voiced aesthetic.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272846">
    <dcterms:title><![CDATA[Fourteenth-Century English Logicians: Possible Models for Chaucer&#039;s Clerk]]></dcterms:title>
    <dcterms:description><![CDATA[Assumes Chaucer&#039;s Clerk to be &quot;an eminent Oxford logician,&quot; and surveys possible real-life models, suggesting that several individuals are plausible and that others &quot;could well have influenced the characterization.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262918">
    <dcterms:title><![CDATA[Fourteenth-Century English Poetry: Contexts and Readings]]></dcterms:title>
    <dcterms:description><![CDATA[Six essays on literary, social, and historical contexts.  The two final essays analyze Chaucer&#039;s use of Boccaccio&#039;s &quot;Teseida&quot; to explore Chaucer&#039;s methods and poetic-philosophical development.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271814">
    <dcterms:title><![CDATA[Fourteenth-Century Weaponry, Armour and Warfare in Chaucer and &#039;Sir Gawain and the Green Knight&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Looks at CT and &quot;Sir Gawain and the Green Knight&quot; from a &quot;military historical and archeological perspective.&quot; Focuses on the Knight in GP and KnT, and on warfare scenes in Th and Sir Gawain.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276194">
    <dcterms:title><![CDATA[Foxes, Fables, and Felons: Animals before the Law in the Middle Ages.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues &quot;that medieval writers of beast literature probed the limitations and possibilities of defining legal personhood, thus exposing the boundary between humans and nonhuman animals to be not merely blurry,  but permeable.&quot; Includes discussion of NPT, investigating &quot;issues of vocal legal authority following the 1381 Uprising in England.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263704">
    <dcterms:title><![CDATA[Fragment A of the &#039;Canterbury Tales&#039;: Character, Figure, and Trope]]></dcterms:title>
    <dcterms:description><![CDATA[Treats Chaucer&#039;s use of rhetoric in characterization.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262225">
    <dcterms:title><![CDATA[Fragment VII of Chaucer&#039;s &#039;Canterbury Tales&#039; and the &#039;Mental Climate of the Fourteenth Century&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[CT, like the intellectual disputes of the fourteenth century, is characterized by extremes.  Applying David Knowles&#039;s discussion of the period to fragment VII of CT, Brown notes that ShT, PrT, Th, Mel, and MkT show the &quot;tendency to extremism characteristic of the age.&quot;  Only NPT forms a coherent whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273576">
    <dcterms:title><![CDATA[Fragmentations of Medieval Religion: Thomas More, Chaucer, and the Volcano Lover]]></dcterms:title>
    <dcterms:description><![CDATA[Traces evidence of anatomical votive offerings, particularly genital renderings, in Roman practice, Reformation commentary, and modern accounts, presenting them as background to reading the Host&#039;s commentary on the Pardoner&#039;s cullions (PardT, 951–55). The Pardoner&#039;s genitalia are &quot;imagined as a fecundating relic,&quot; with satiric implications.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272453">
    <dcterms:title><![CDATA[Fragments and Assemblages: Forming Compilations of Medieval London]]></dcterms:title>
    <dcterms:description><![CDATA[In a chapter entitled &quot;Constructing Compilations of Chaucer&#039;s &#039;Canterbury Tales&#039;,&quot; considers CT through the lens of Walter Benjamin&#039;s historical materialism. Teases out three narrative threads by means of &quot;compilational construction.&quot; The KnT-MilT-RvT-CkT and the KnT-SqT-Th threads dismantle the relevance of the courtly ideal as a relevant construct in the sociopolital milieu of late fourteenth-century London. The KnT-FranT thread disrupts this pessimism with a partial reinstatement of courtly imitation as productive of social harmony but fails to right the balance entirely.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269842">
    <dcterms:title><![CDATA[Fragments and Foundations: Medieval Texts and the Future of Feminism]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that a &quot;turn to the Middle Ages&quot; can reinvigorate feminist criticism, encouraging exploration of the &quot;origins of gendered language,&quot; e.g., womanhood, femininity, and wifehood. Williams surveys the tradition of feminist approaches to medieval literature, particularly studies of Chaucer and female writers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262685">
    <dcterms:title><![CDATA[Fragments I-II and II-V in the &#039;Canterbury Tales&#039;: A Re-Examination of the Idea of the &#039;Marriage Group&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the relationship between fragments I and II and the &quot;Marriage Group,&quot; reading the tales in I and II and III through V as &quot;an ongoing discourse between Chaucer and the ultimate narrator and reader.&quot;  Argues that Kittredge&#039;s concept of the &quot;Marriage Group&quot; has inhibited examination of Chaucer&#039;s comprehensive discussion of marriage in KnT, MilT, RvT, MLT, WBT, ClT, MerT, and FranT and that the Ellesmere order is the true, Chaucerian order.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270774">
    <dcterms:title><![CDATA[Fragments IV and V of the Canterbury Tales Do Not Exist]]></dcterms:title>
    <dcterms:description><![CDATA[The editorial break between MerE and SqH cannot be defended on the basis of manuscript evidence. The break has obscured an element of the &quot;artistic design&quot; of CT: a sequence of four tales whose tellers represent occupations held either by Chaucer or by his father. The thirty lines of MerE and SqH should be relabeled as MerSqL.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270061">
    <dcterms:title><![CDATA[Fragments: Past and Present in Chaucer and Gower]]></dcterms:title>
    <dcterms:description><![CDATA[Studying how Chaucer&#039;s and Gower&#039;s uses of their sources reflect their understandings of history and their political agendas, Urban invites readers to consider parallels between the poets&#039; uses of sources and historicist criticism. Uses various theoretical approaches to compare and contrast the poets&#039; treatments of rebellion and vision in &quot;Vox Clamantis&quot; and NPT (with discussion of HF and PF), their depictions of Troy in TC and several sections of &quot;Confessio Amantis,&quot; their mirrors for princes in Mel and &quot;Confessio Amantis&quot; 7, and their concern with the violated body in their tales of Virginia. Generally, Gower seeks to resolve into admonitory unity the splintered idealism of the past, while dialogic interaction typifies Chaucer&#039;s engagements with the past and with politics.]]></dcterms:description>
</rdf:Description></rdf:RDF>