<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/262639">
    <dcterms:title><![CDATA[Gawain and the Arthurian Legend]]></dcterms:title>
    <dcterms:description><![CDATA[Thirteen previously published articles study &quot;Sir Gawain and the Green Knight,&quot; medieval English Literature, the development of Arthurian literature, and Middle English romances.  Contains a Japanese translation of the first two branches of &quot;Mabinogi.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266652">
    <dcterms:title><![CDATA[Gawain, Chaucer and Translatability]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses various levels of difficulty in translating CT and &quot;Sir Gawain and the Green Knight&quot; into Modern English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271099">
    <dcterms:title><![CDATA[Gay and Lesbian Poetry: An Anthology from Sappho to Michelangelo]]></dcterms:title>
    <dcterms:description><![CDATA[Includes versions of the GP description of the Pardoner and lines 591-640 of PardT in normalized spelling, with a brief Introduction that identifies several indications that the Pardoner is gay.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277031">
    <dcterms:title><![CDATA[Ge.offrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Part of Paravicini&#039;s three-volume study of the crusades against Lithuania undertaken by the Teutonic order, focusing on literary backgrounds to the chivalric imagination underlying the crusades. Includes evidence of tensions between crusading and courtly ideals, quoting the GP description of the Knight and passages from KnT, FranT, MkT, Th, and BD, each with German translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265593">
    <dcterms:title><![CDATA[Gender and Genre in Chaucer&#039;s Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer explores the limits of romance and extends them so that TC, KnT, SqT, Th, WBT, and FranT become &quot;poems about narrative.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267454">
    <dcterms:title><![CDATA[Gender and Identity : Teaching the Middle Ages in a College Survey Class]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the use of select Chaucerian works as part of a four- or five-week unit in an undergraduate introduction to literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268683">
    <dcterms:title><![CDATA[Gender and Jewish Difference from Paul to Shakespeare]]></dcterms:title>
    <dcterms:description><![CDATA[Lampert decenters Christianity and releases the study of Jews and Judaism from a &quot;restricted economy of particularism.&quot; She shows how representations of Jews go beyond representations of the &quot;Other&quot; in a range of English texts by revealing fundamental understandings of reading, interpretation, and identity that form the basis of these texts.]]></dcterms:description>
    <dcterms:description><![CDATA[In PrT, the Virgin Mary&#039;s body symbolizes the contact between Judaism and Christianity, representing the limits of Christian ideology and identity. In the broader context of CT, PrT reacts directly to ShT, in which chaos stems from unspoken sins of usury. SNT draws upon the dichotomies between blindness and sight, used in PrT to invoke an opposition &quot;to Jewish perfidy&quot; (13). Lampert also considers MLT, Th-MelL, ParsT, and Ret. The representation of Jews shapes CT because what it means to be Christian is negotiated in relationship to Jews and Judaism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266409">
    <dcterms:title><![CDATA[Gender and Language in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[A study of &quot;the interconnectedness of gender, epistemology, and poetics in Chaucer&#039;s texts,&quot; focusing on &quot;idioms of gender that attend narrative protocols of reflexitivity and appropriation.&quot;  Examines the linguistic, discursive, and sexual ambiguities of the Wife of Bath (Chapter 1), as well as Criseyde&#039;s function as a metatextual, polysemous character (Chapter 2).]]></dcterms:description>
    <dcterms:description><![CDATA[In LGW, PhyT, SNT, MLT, and ClT, the suffering of women manifests various cultural codes (Chapter 3). Wom Unc, Form Age, Sted, For, Gent, Ros, and Wom Nob are narratives that &quot;articulate gender categories in the absence of a fictive female&quot; (Chapter 4), while in ManT the  mother is significantly absent (Chapter 5).  Sexually ambiguous, the Pardoner and the Summoner represent an equally ambiguous gendered poetic (Chapter 6).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267654">
    <dcterms:title><![CDATA[Gender and Politics in Osbern Bokenham&#039;s Legendary]]></dcterms:title>
    <dcterms:description><![CDATA[Bokenham &quot;strategically utilizes feminine piety&quot; and his own &quot;dullness&quot; to express political dissent in a style that differs from the high rhetorical style of Gower, Chaucer, and Lydgate. He rejects their &quot;classicizing, aureate&quot; tradition, initiating a tradition that affiliates York with the power of women through discourse that the &quot;Yorkists would develop throughout the ensuing decades.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270770">
    <dcterms:title><![CDATA[Gender and Power in Medieval Exegesis]]></dcterms:title>
    <dcterms:description><![CDATA[Despite its antifeminist core, medieval exegesis is not &quot;universally misogynistic or patriarchal.&quot; Focusing on three historical moments--the age of Augustine, the twelfth century, and the age of Chaucer, including his fifteenth-century reception--Tinkle identifies instances from Jerome and Augustine forward in which &quot;exegetes reject patriarchal power structures and invent their own subversive authority as feminine.&quot; Incorporates expanded versions of two of Tinkle&#039;s essays on Chaucer, previously printed: &quot;Contested Authority: Jerome and the Wife of Bath on 1 Timothy 2&quot; and &quot;The Wife of Bath&#039;s Marginal Authority.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265609">
    <dcterms:title><![CDATA[Gender and Romance in Chaucer&#039;s &quot;Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Romance is the medieval genre that most clearly dramatizes gendered identity, focusing on &quot;courtship, marriage, lineal concerns, primogeniture, and sexual maturation.&quot;  Chaucer&#039;s KnT, WBT, SqT, FranT, and Th reflect and confront masculine identity and its objectification of the feminine, feminine mimicry of such objectification, and parallels between gender opposition and other oppositions such as authority and submission, familiarity and exoticism, justice and mercy, public and private.]]></dcterms:description>
    <dcterms:description><![CDATA[Men&#039;s magic and women&#039;s magic also differ in Chaucer&#039;s romances, and his adventures of love suggest a kind of crossgendering in which men manifest &quot;feminine pliancy&quot; to errancy and accident.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275255">
    <dcterms:title><![CDATA[Gender and Sexual Identities in the &quot;Summoner&#039;s Prologue&quot; and &quot;Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes distinctions that derive from transgender politics and explores how the gender and sexual identities in SumPT--&quot;largely constructed by and through its twin genres of antifraternal critique and fabliau&quot;--&quot;insinuate that friars are both womanizers and sodomites.&quot; Designed for pedagogical use, includes several questions for discussion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270715">
    <dcterms:title><![CDATA[Gender and Sexuality]]></dcterms:title>
    <dcterms:description><![CDATA[Burger characterizes second-wave feminism as a precursor of gay and lesbian studies, arguing that queer theory desires and explores the past in particularized rather than universalized ways, in part to &quot;trouble Foucault&#039;s epistemic break between the medieval and the modern.&quot; Burger considers the current state(s) of feminist, queer, and transgender studies and imagines how &quot;medievalist gender critics&quot; can &quot;remake the human&quot; by the undoing of gender. Examples from Chaucer studies appear throughout.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274693">
    <dcterms:title><![CDATA[Gender and Social Status in Chaucer&#039;s Language.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;the semantics and pragmatics of nouns that denote gender and social status in Chaucer&#039;s literature, e.g., &quot;knyght,&quot; &quot;lady,&quot; &quot;leche,&quot; &quot;wyf &#039;,&quot; focusing on MerT, FranT, ABC, and TC, but addressing most of Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267582">
    <dcterms:title><![CDATA[Gender and the Literate Culture of Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Professional book production and circulation in the fifteenth and early sixteenth centuries, including Chauceriana, present courtly models for gender, eventually affecting rural gentry. The Findern MS revises femininity, and the female voice can be found in some love lyrics. In contrast, the commonplace book of Richard Hill presents ideals of masculinity for the merchant community.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268632">
    <dcterms:title><![CDATA[Gender and Time in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s male narrators and characters are obsessed with ideas of linear/finite time, progression, arrival, and teleology. His female characters either silently subscribe to the male obsession or are dominated by cyclical/monumental and transcendent time. The Wife of Bath is the antithesis of the allegorical figure of Temperantia.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261761">
    <dcterms:title><![CDATA[Gender Nominalized: Unmanning Men, Disgendering Women in Chaucer&#039;s &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In contrast to the uniformity specified in LGWP, the legends themselves, when examined in light of the nominalist principle of particularized language, reveal widely differing heroines, not indistinguishable victims.  ShT functions as pattern; CYT as recapitulation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277230">
    <dcterms:title><![CDATA[Gender Transgression and Political Subversiveness in Geoffrey Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Observes tensions between masculine, political responsibilities Troilus has to his state and feminized submissiveness to his &quot;sovereyn&quot; Criseyde, grounding these tensions in medieval critiques of courtly love and aligning Troilus&#039;s submission with legal &quot;contempt.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265911">
    <dcterms:title><![CDATA[Gender-Crossing in the &#039;Miller&#039;s Tale&#039;--and a New Chaucerian Crux]]></dcterms:title>
    <dcterms:description><![CDATA[Thomas W. Ross&#039;s &quot;Variorum Edition&quot; of MilT creates new possibilities for interpreting the misdirected kiss.]]></dcterms:description>
    <dcterms:description><![CDATA[  Through multivalent language, MilT explores gender-crossing as well as gender power struggles.  Actions in the window scene suggest not only sexual impotence but also &quot;psychological castration.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265699">
    <dcterms:title><![CDATA[Gender-Crossing in the &#039;Prioress&#039; Tale&#039;: Chaucer&#039;s Satire on Theological Anti-Semitism?]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer satirizes the anti-Semitism and sexual restrictiveness of the medieval church by presenting the serpent-Satan as a representation of Judaic reproduction denied the celibate Prioress.  Rudat suggests the Prioress terminated an earlier unwanted prenancy in an action underlying the murder and disposal of the little clergeon in her tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268339">
    <dcterms:title><![CDATA[Gender, Class, and Conscience in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Eaton connects various uses of the word &quot;conscience&quot; in Chaucer&#039;s works with the social classes of the characters with whom the word is associated and with gender differences such as the structuring of physical space.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269593">
    <dcterms:title><![CDATA[Gender, Economics and Morality: Sexuality and Ageing as Depicted in Geoffrey Chaucer&#039;s The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[O&#039;Neill surveys Chaucer&#039;s attitudes toward age and gender in CT, with particular focus on WBPT. In CT, the &quot;medieval, ageing Englishwoman as a sexual being emerges with . . . dignity and vitality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277450">
    <dcterms:title><![CDATA[Gender, Poetry, and the Form of Thought in Later Medieval Literature: Essays in Honor of Elizabeth A. Robertson.]]></dcterms:title>
    <dcterms:description><![CDATA[Ten essays by various authors on topics in Middle English and Anglo-Norman studies, with an introduction by the editors and a comprehensive index. For three essays that pertain to Chaucer, search for Gender, Poetry, and the Form of Thought in Later Medieval Literature under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271495">
    <dcterms:title><![CDATA[Gender, Race, and the Individual Subject in Middle English Representations of Conversion]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Chaucer&#039;s works, Mannyng&#039;s &quot;Handlyng Sinne,&quot; and several Middle English romances to examine conversion as a process by which the self is redefined either in opposition to a dominant class or as a means of admission to it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275165">
    <dcterms:title><![CDATA[Gender, Vulgarity, and the Phantom Debates of Chaucer&#039;s &quot;Merchant&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that MerT is unified by its engagement with medieval debate tradition, evident in a series of five episodes that concern competing views on gender and marriage. Moreover, the &quot;phantom debate&quot; of the Merchant&#039;s &quot;split consciousness&quot; and the Host&#039;s reported conflicts with his wife evoke ongoing concerns with gender and matrimony, while leaving May to stand as a &quot;parodic figure of female wisdom.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>