<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/268675">
    <dcterms:title><![CDATA[Further Evidence for Chaucer&#039;s Representation of the Pardoner as a Womanizer]]></dcterms:title>
    <dcterms:description><![CDATA[Details from a Latin flyting poem indicate that the Pardoner in GP is presented as an example of &quot;effeminizing heterosexuality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271220">
    <dcterms:title><![CDATA[Further Investigation into the Scansion of Chaucer&#039;s Troilus and Criseyde: Revising the Scansion Dictionary of Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; reported in WorldCat.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277151">
    <dcterms:title><![CDATA[Further Notes on J. R. R. Tolkien&#039;s Photostats of &quot;The Equatorie of the Planetis&quot; (MS Peterhouse 75.I).]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies which folios of Cambridge, Peterhouse, MS 75.I are included (photostatic copies) in the Tolkien archive of Oxford, Bodleian Library, Tolkien VC 277, using the copies to assess Tolkien&#039;s possible assistance to Derek J. Price and R. M. Wilson in their 1955 Cambridge University Press edition of Equat and the putative attribution of Equat to Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273335">
    <dcterms:title><![CDATA[Further Puns from the &quot;Prologue&quot; and &quot;Tale&quot; of the Wife of Bath.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses four sexual puns in WBPT: on purse/chest, candle-lighting, flour and grinding, and &quot;borel&quot; or coarse cloth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263077">
    <dcterms:title><![CDATA[Further Reading: A Guide to Chaucer Studies]]></dcterms:title>
    <dcterms:description><![CDATA[Selective bibliography of materials on Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272563">
    <dcterms:title><![CDATA[Further Testimony in the Matter of &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges D. W. Robertson&#039;s moral condemnations of the major characters of TC, and justifies personal affection for the character of Criseyde; presented in the pose of a legal defense against prosecution.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262046">
    <dcterms:title><![CDATA[Further Texts of Chaucer&#039;s Minor Poems]]></dcterms:title>
    <dcterms:description><![CDATA[Transcriptions of previously unpublished manuscript versions of three minor poems:  &quot;ABC&quot; from Melbourne MS.; &quot;Truth&quot; from Nottinghame ME LM I; &quot;Wom Unc&quot; from Bodleian Fairfax 16.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269569">
    <dcterms:title><![CDATA[Future Perfect: The Augustinian Theology of Perfection and the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Goldstein considers Custance of MLT and Alisoun of WBP in relation to the Augustinian theology of perfection, particularly in light of late fourteenth-century adaptations of Augustine, both orthodox and heterodox. MLT exemplifies the deterministic operation of grace, while the Wife of Bath&#039;s autobiography comically explores a &quot;mediocritist&quot; outlook. Goldstein posits a &quot;perfection group&quot; (on the model of the &quot;marriage group&quot;) that anatomizes Augustinian ideals of perfection: i.e., MLT, WBP, ClT, SumT, MerT, SNT, CYT, and ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267026">
    <dcterms:title><![CDATA[Future Tears and Present Laughter: Warnings of Doom in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Examines structural and thematic functions of Chauntecleer&#039;s dream exempla in NPT. The exempla all suggest &quot;an unresolved sense of guilt&quot; that casts into tragic relief the events in the barnyard, transforming NPT from comedy to tragedy. The Tale reveals the &quot;evil malignity that lies at the bottom of human hearts.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271366">
    <dcterms:title><![CDATA[Gale Contextual Encyclopedia of World Literature]]></dcterms:title>
    <dcterms:description><![CDATA[This encyclopedia of world authors describes how the works of individual authors &quot;fits with the context of the author&#039;s life, historical events, and the literary world&quot;; it includes a comprehensive index, printed in each of the four volumes. The entry on Chaucer (1:358-61) summarizes his literary, linguistic, and social contexts, attending especially to CT and its pilgrimage frame. Also addresses his relations with historical fiction that depicts his age, with other stories about pilgrimage, and with political events and literary works of time.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264229">
    <dcterms:title><![CDATA[Gallic Flies in Chaucer&#039;s English Word Web]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer at times uses French constructions in his English, as is shown by examples in RvT, KnT, TC, PardT, and GP (portrait of the Prioress).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268189">
    <dcterms:title><![CDATA[Game Over: Defragmenting the End of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Although the link between ManT and ParsT has been seen as tenuous, ManT leads symbolically and actually into ParsT, and it simultaneously extends the piety of ParsT back into CT as a whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273705">
    <dcterms:title><![CDATA[Game, Play, and High Seriousness in Chaucer&#039;s Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges Matthew Arnold&#039;s assertion that Chaucer&#039;s poetry lacks &quot;high seriousness,&quot; considering the issue in light of game theory and Chaucer&#039;s attitude toward characterization. Because Chaucer&#039;s viewed character as performative role-playing (especially in CT and TC), he casts human life as a &quot;series of overlapping games,&quot; blurring the &quot;boundary&quot; between literature and life, and complicating the static view of humanity that underlies Arnold&#039;s notions of tragedy and epic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272366">
    <dcterms:title><![CDATA[Gamelyn&#039;s Place among the Early Exemplars for Chaucer&#039;s &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Applying ANOVA/Tukey&#039;s Range Test on nine early CT manuscripts, the author finds that none of them is based on exemplars written in more than three hands. Attributes the final ordering in the first manuscripts of CT to &quot;the poem&#039;s first two scribes, probably working after Chaucer&#039;s death and spuriously adding the Tale of Gamelyn.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274128">
    <dcterms:title><![CDATA[Games and Gaming in Medieval Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Collects interdisciplinary essays focusing on the breadth and depth of games in medieval literature and culture. For an essay that pertains to Chaucer, search for Games and Gaming in Medieval Literature under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262384">
    <dcterms:title><![CDATA[Games and High Seriousness: Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s &quot;detached role&quot; in CT establishes his &quot;characteristic attitude toward human behavior--the rhetorical attitude,&quot; which views social interaction as a series of roles played in accord with conditional games. Comments on the Host, the Wife of Bath, and the Clerk as game players in CT, and considers Pandarus&#039;s roles as a &quot;controller of games&quot; in TC, where language &quot;almost always conceals an ulterior motive&quot; and where society creates three characters who, tragically, operate with differing sets of assumptions about their roles.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272742">
    <dcterms:title><![CDATA[Games and the Players of Games: Old French Fabliaux and the &#039;Shipman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts ShT with its fabliau analogues, arguing that Chaucer creatively adapts the genre by adding complicated characterization to the stark comic plot and by developing a serious thematic concern with the commercialization of sex and marriage, underscoring it through the depiction of betrayed friendship.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269337">
    <dcterms:title><![CDATA[Games Medieval Women Play]]></dcterms:title>
    <dcterms:description><![CDATA[McDonald describes the principles and operation of two late medieval ribald games of &quot;amorous divination&quot; - Ragman Roll and Chaunce of Dice - as a means to explore the female audience for such games and related literature, particularly LGW. &quot;Demandes d&#039;amour&quot; and sexual riddles reveal that elite medieval women participated in ludic, sexually explicit discourse and double entendre.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277486">
    <dcterms:title><![CDATA[Gamifying the Canterbury Tales 1: Adopt-a-Pilgrim, Harry Bailley&#039;s Game, and an RPG Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Describes a pedagogy for using role-playing exercises in teaching CT in advanced undergraduate and early graduate classes. Comments on theories of &quot;play and game,&quot; including notions of role-playing games, and explains a nested set of assignments and classroom strategies to engage students, focus their attention, and involve them in &quot;playful competition, cooperation, and self-assessment.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268097">
    <dcterms:title><![CDATA[Garlands of Derision: The Thematic Imagery in Chaucer&#039;s The Knight&#039;s Tale and Shakespeare&#039;s A Midsummer Night&#039;s Dream]]></dcterms:title>
    <dcterms:description><![CDATA[Bakhtinian analysis of references to garlands and garlanding in KnT and A Midsummer Night&#039;s Dream. Greenwood traces the classical traditions of garlands of love and glory, arguing that depictions of both &quot;veer towards negative criticism&quot; in these two works. Shakespeare distrusts them and Chaucer uses them to provoke alternative readings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269249">
    <dcterms:title><![CDATA[Garlands of Derision: The Thematic Imagery of Garlands. Part II: The Garlands of Power: Chaucer&#039;s The Knight&#039;s Tale and Shakespeare&#039;s A Midsummer Night&#039;s Dream]]></dcterms:title>
    <dcterms:description><![CDATA[As Greenwood has shown in a previous study, garlanding often implied criticism. In KnT and A Midsummer&#039;s Night&#039;s Dream, however, it is an acknowledgment of power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273332">
    <dcterms:title><![CDATA[Gascoigne and &quot;My Master &#039;Chaucer&#039;.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that George Gascoigne&#039;s reading of TC inspired aspects of his &quot;Adventures of Master F. J.&quot; [or F. I.]. In particular, identifies parallels to the scene Troilus&#039;s fainting (TC 3.1092), the character of Criseyde, the &quot;self-effacing pose&quot; of Chaucer&#039;s narrator, and Pandarus&#039;s manipulations (echoed in Gascoigne&#039;s narrative perspective).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268839">
    <dcterms:title><![CDATA[Gat-Toothed Alysoun, Gaptoothed Kathleen : Sovereignty and Dentition]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the complex workings of an allusion to the Wife of Bath in Joyce&#039;s &quot;Ulysses &quot; that resonates with Irish mythology, Yeats, and Irish political power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276268">
    <dcterms:title><![CDATA[Gavin Douglas and Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies a number of parallels between Chaucer&#039;s works and those of Gavin Douglas, focusing on &quot;Eneados&quot; and demonstrating that &quot;Douglas owes far more to Chaucer than has been generally recognized.&quot; Not a &quot;servile imitator,&quot; Douglas, &quot;like Henryson, learnt much from Chaucer while preserving his integrity and individuality as a poet.&quot; The majority of the echoes derive from TC, LGW, KnT, and Mars.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262314">
    <dcterms:title><![CDATA[Gavin Douglas: &#039;Off Eloquence the Flowand Balmy Strand&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer influenced Douglas in many ways:  &quot;as a model for diction and register, as a source of phrase and adapter of syntax, as an establisher of the Dream Poem...; Chaucer&#039;s &quot;House of Fame&quot; stands as the inspiration for Douglas&#039;s own first long poem, his &quot;Palice of Honour.&quot;  Chaucer&#039;s influence on Douglas was tempered by Virgil&#039;s.]]></dcterms:description>
</rdf:Description></rdf:RDF>