<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/267617">
    <dcterms:title><![CDATA[From Text to Man : Re-Creating Chaucer in Sixteenth-Century Editions]]></dcterms:title>
    <dcterms:description><![CDATA[Sixteenth-century editions of Chaucer&#039;s works &quot;reflect a gradual transition from text-based definitions of what constitutes Chaucer to author-focused ones.&quot; Bly considers Thynne&#039;s edition of 1532, Stowe&#039;s of 1561, and Speght&#039;s of 1602, discussing &quot;visual components&quot; of the editions, prefatory matter, and the corpus they include, observing a growing emphasis on Chaucer as a &quot;flesh-and-blood historical personage.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271164">
    <dcterms:title><![CDATA[From Textual Interpretation to Film Adaptation: The Narratorial, Readerly, and Directorial Gaze at the &#039;Joly Body&#039; of Geoffrey Chaucer&#039;s Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the Wife of Bath as &quot;Chaucer&#039;s construction of the . . . female body as a literal and metaphoric text,&quot; and explores how depictions of the Wife in modern films respond to her critical reception as well as his original creation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262078">
    <dcterms:title><![CDATA[From the &#039;Clerk&#039;s Tale&#039; to &#039;The Winter&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[By looking at two surviving &quot;Patient Grissel&quot; plays, the prose chapbook, and the ballad on the same subject, Baldwin shows that the popularity of Chaucer&#039;s ClT extended into the sixteenth century.  Greene loosely modeled his &quot;Pandosto&quot; on the story of Patient Grissel.  Shakespeare&#039;s &quot;The Winter&#039;s Tale,&quot; though based on &quot;Pandosto&quot; and though close to Phillip&#039;s and Dekker&#039;s Grissel plays, is even closer to ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273534">
    <dcterms:title><![CDATA[From the &quot;Knight&#039;s Tale&quot; to &quot;The Two Noble Kinsmen&quot;: Rethinking Race, Class, and Whiteness in Romance.]]></dcterms:title>
    <dcterms:description><![CDATA[Establishes how Shakespeare and Fletcher used &quot;images of Africanness to link race and class&quot; in &quot;The Two Noble Kinsmen,&quot; and claims this differs from Chaucer&#039;s concern with the &quot;racial alterity&quot; and &quot;whiteness&quot; of the Amazonian women in KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261615">
    <dcterms:title><![CDATA[From the Crusading Virago to the Polysemous Virgin: Chaucer&#039;s Constance]]></dcterms:title>
    <dcterms:description><![CDATA[Mikhail Bakhtin&#039;s notion of polyphony illuminates MLH, MLP, and MLT, in which Custance&#039;s religious voice contrasts with the Man of Law&#039;s many ambivalent voices, including his &quot;rhetorical, epic, and legal registers.&quot;  While Custance is a stock figure, the &quot;basic scepticism of a dialogic tale&quot; causes her to become an individual.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261631">
    <dcterms:title><![CDATA[From The House of Fame to Politico-Cultural Histories]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s use of &quot;thoughte&quot; in HF to translate Boethius&#039;s &quot;mens&quot; and Dante&#039;s &quot;mente,&quot; arguing that the personal, experiential epistemology implicit in Chaucer&#039;s word undermines the transcendental visions of his predecessors and anticipates the down-to-earth theme of common profit in PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271346">
    <dcterms:title><![CDATA[From the Library of C. S. Lewis: Selections from Writers Who Influenced His Journey]]></dcterms:title>
    <dcterms:description><![CDATA[This anthology of excerpts includes the opening of FranT (5.729-50) in Middle English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267745">
    <dcterms:title><![CDATA[From the Many to the One: Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[In CT, Chaucer uses prologues to achieve great diversity, displacing himself with other narrators. He develops a counter movement in his epilogues, in which the conventions of religious epilogues communicate, however tenuously, a unified religious worldview.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268864">
    <dcterms:title><![CDATA[From the Sale Catalogue of the Library of Samuel Rogers]]></dcterms:title>
    <dcterms:description><![CDATA[Lot 1543 is &quot;Chaucer (black letter): printed by Wyllyam Bonham, at the sign of the Reed [sic] Lyon,&quot; given to Rogers (1763 - 1855) by his friend Horne Tooke.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268771">
    <dcterms:title><![CDATA[From the Vormarz to the Empire : The Socio-Political Context of the Golden Age of German Chaucer Scholarship]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the socio-political assumptions and implications of mid-nineteenth-century German study of Chaucer, especially pre-academic translations and commentary.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275061">
    <dcterms:title><![CDATA[From There: Some Thoughts on Poetry &amp; Place.]]></dcterms:title>
    <dcterms:description><![CDATA[Cites and quotes a portion of Dorigen&#039;s &quot;song&quot; in FranT 4.857-94 as an early, pre-Romantic lyrical example of the &quot;&#039;Crossing Brooklyn Ferry&#039; effect&quot; in poetry, a trope by which reference to a physical space links the inner concerns of multiple people.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270576">
    <dcterms:title><![CDATA[From Three Respectable Horses&#039; Mouths: Metonymy and Conventionalization in a Diachronically Differentiated Data Base]]></dcterms:title>
    <dcterms:description><![CDATA[Uses data from Aelfric, Chaucer, and Shakespeare to demonstrate how metonymy &quot;works as a tool for meaning extension in a diachronically diverse data base,&quot; arguing that there is &quot;something of a metonymy-metaphor continuum&quot; and a complex relation between metonymy and conventionalization. The data (including 26 examples from Chaucer), are all concerned with &quot;linguistic action&quot; and involve the word &quot;mouth&quot; or its equivalent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274848">
    <dcterms:title><![CDATA[From Tower to Bower: Constructions of Gender, Class, and Architecture in Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers &quot;the trope of the female body entowered&quot; in selected romances and lyrics, BD, and the Paston letters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269793">
    <dcterms:title><![CDATA[From Translator to Laureate: Imagining the Medieval Author]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys medieval  notions of authorship from the twelfth century to the late fifteenth century, commenting on topics such as anonymity, laureateship, Mandeville&#039;s &quot;Travels,&quot; &quot;The Cloud of Unknowing,&quot; &quot;The Book of Margery Kempe,&quot; and the development of a modern idea of authorship in early print culture. Recurrent and sustained attention to Chaucer&#039;s works and to reception of them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271531">
    <dcterms:title><![CDATA[From Trevet to Gower and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer and Gower both adapted the story of Constance from the Anglo-Norman chronicle of Trevet. A comparison of the proper names, institutional terms, and speeches shows that Gower closely follows Trevet while Chaucer modifies the story in MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268375">
    <dcterms:title><![CDATA[From Twelve Devouring Dragons to the Develes Ers: The Medieval History of an Apocryphal Punitive Motif]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the history of the motif of infernal punishment in the devil&#039;s anus, suggesting that the earliest evidence of the motif is found in the &quot;Seven Heavens Apocryphon&quot; of Irish visionary tradition and that Chaucer&#039;s use of the motif in SumP derives from this tradition, perhaps inflected by the &quot;Visio sancti Pauli.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275218">
    <dcterms:title><![CDATA[Frontières d&#039;un genre aux frontiers d&#039;une langue: Ballades typiques et atypiques d&#039;Eustache Deschamps, John Gower et Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces changes in the putatively fixed form of the balade as used by Eustache Deschamps, John Gower, Chaucer, and others, commenting on variations in number of stanzas, rhyme schemes, the inclusion of envoys, etc. Includes comments on Ven, For, Ros, Wom Nob, Truth, Gent, Sted, Scog, Buk, Purse, and &quot;Hyd Absolon&quot; embedded in LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271716">
    <dcterms:title><![CDATA[Fruitfulness and Sterility in the &#039;Physician&#039;s&#039; and &#039;Pardoner&#039;s Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the complementary thematic interconnections of PhyT and PardPT (integrity and fraudulence, spiritual fertility and sterility, virtue and vice, defeat of death), reading their interdependence in light of ParsT and the section of the &quot;Roman de la Rose&quot; that underlies their juxtaposition in Part 6 of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274938">
    <dcterms:title><![CDATA[Fruyt and Chaf: Studies in Chaucer&#039;s Allegories.]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets BD and PF as allegories, offering &quot;An Approach to Medieval Poetry&quot; (pp. 3-31) as an introduction to exegetical or patristic criticism and a justification of the method. Explores the imagery, structures, ironic juxtapositions, and meanings of the two poems as, respectively, Christian consolation and a Christian alternative to worldly love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273599">
    <dcterms:title><![CDATA[Fugitive Poetics in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that motion in HF is &quot;not the antithesis to form but its condition of possibility.&quot; Water imagery links Boethian &quot;enclynyng,&quot; the littoral &quot;field of sand&quot; that signals transition between Books I and II, and the eel-trap shape of the House of Rumor; Geffrey is a &quot;second Aeneas&quot; who is making literary tradition. Various puns (e.g., sand/sound, tides/tidings) and the &quot;anaphoric circles&quot; of repeated &quot;O&quot;s in lines 1961–76 engage formal and thematic concerns so that HF shares some formal features with Pearl and anticipates the restless poetics of CT. Includes 5 b&amp;w figures.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268941">
    <dcterms:title><![CDATA[Ful Pale Face : Agamben&#039;s Biopolitical Theory and the Sovereign Subject in Chaucer&#039;s Clerk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[McClellan relates Giorgio Agamben&#039;s theory of the ambiguity of political sovereignty and his ideas on &quot;gesture&quot; and &quot;shame&quot; to Walter&#039;s sovereignty and Griselda&#039;s submission in ClT. Argues that these are key to understanding the Tale: &quot;The paradoxes of sovereignty, the medium of gesture, and the disarray of shame [are] the cruxes of a political allegory that has long disturbed and baffled readers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269629">
    <dcterms:title><![CDATA[Funny Money: Puns and Currency in the Shipman&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Sheridan assesses the &quot;common logic&quot; of puns and money in ShT. Both pose the threat of vacuity--meaninglessness or lack of value--while simultaneously offering pleasure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275661">
    <dcterms:title><![CDATA[Further Adventures of the Celestial Sleuth: Using Astronomy to Solve More Mysteries in Art, History, and Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of MerT that explains Chaucer&#039;s precision in using astronomical data for poetic purposes. Suggests that Chaucer used Alfonsine tables, and aligns the astronomical details and imagery of MerT with celestial events that occurred in April, May, and June of 1389.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274343">
    <dcterms:title><![CDATA[Further Aspects of Mutability in Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies two examples of the &quot;memento mori&quot; motif and two of &quot;ubi sunt&quot; in TC, three of these added by Chaucer to his material, and all of them contributing to the poem&#039;s dominant theme of the transitory nature of human love and life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264596">
    <dcterms:title><![CDATA[Further Biblical Allusions for Chaucer&#039;s Prioress]]></dcterms:title>
    <dcterms:description><![CDATA[Madame Eglentyne&#039;s &quot;Amor vincit omnia,&quot; where we would expect &quot;Caritas vincit omnia,&quot; is used for ironic effect.  Since Paul defines &quot;caritas&quot; as the &quot;bond of perfection,&quot; Chaucer&#039;s use of the motto to bind together the Prioress&#039; rich beads is another element of parody.]]></dcterms:description>
</rdf:Description></rdf:RDF>