<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/274661">
    <dcterms:title><![CDATA[Gendered Books: Reading, Space and Intimacy in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates two crucial scenes of reading in TC--Criseyde&#039;s reading with her attendants in Book 2 and Pandarus&#039;s voyeuristic reading of a romance in the consummation scene--finding in their contrasts two opposed models of reading: one that &quot;privileges hermeneutic activity&quot; and the other that prefers &quot;affective immersion.&quot; Setting (&quot;paved parlour&quot; versus bedchamber), the meanings of &quot;romaunce,&quot; and the poem&#039;s &quot;intense familiarity&quot; with the story of Thebes complicate the gendered opposition of reading habits.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268353">
    <dcterms:title><![CDATA[Gendering Discourse in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[By representing the narrator of CT first as a disembodied authority and then as a storyteller in the pilgrimage game, Chaucer explores the parameters of voice, gender, and authority. The perception of gender in speech is shown to be a social construct, rather than grammatical or linguistic. Associating discourse with gender, either masculine or feminine, diminishes its validity by exposing it to the criticism of the addressee or the reader.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268942">
    <dcterms:title><![CDATA[Gendering Histories : Representations of Pagan Cultures in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[In an argument that medieval writers gendered undesirable aspects of pagan beliefs as feminine, Shutters examines Griselda in ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273193">
    <dcterms:title><![CDATA[Genealogy of the Isolated Knight: From Boccaccio&#039;s &#039;Filocolo&#039; to Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the idealized knightly figure of Troilus in TC is taken from the characterization of Florio in Boccaccio&#039;s &quot;Filocolo.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272970">
    <dcterms:title><![CDATA[General Prologue [to] the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Textbook edition of GP with end-of-text notes, glossary, and dictionary of proper names, accompanied by an Introduction that addresses the role of GP in CT, as well as its art and &quot;Inheritance.&quot; Also includes several appendixes: &quot;The Poet and His Works&quot;; &quot;Chaucer&#039;s English&quot;; &quot;Versification&quot;; and &quot;Man, Astronomy, Astrology, and Medicine.&quot; The illustrations derive from the Ellesmere manuscript.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275375">
    <dcterms:title><![CDATA[General Prologue 74: Horse or Horses?]]></dcterms:title>
    <dcterms:description><![CDATA[Supports the reading of &quot;hors&quot; as plural in GP 1.74 on the grounds that &quot;goode&quot; in the same line is a plural form that &quot;determines the number of the entire construction.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269854">
    <dcterms:title><![CDATA[General Prologue to the Canterbury Tales, by Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Textbook edition of GP. Includes glosses and discursive notes (at the back  of the book) and discussion of approaches to the text: sources and analogues, characterization, assessment of theme and topic, and analysis of poetic technique. Also includes basic contextual materials (black-and-white illustrations of pilgrims, excerpted analogues, etc.), a chronology and discussion of language, and suggestions for classroom activities and discussion.  Revised version of 1994 publication.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269785">
    <dcterms:title><![CDATA[Generating Enthusiasm: Performing Chaucer in the Small Liberal Arts College Classroom]]></dcterms:title>
    <dcterms:description><![CDATA[Presents performance strategies for improving linguistic knowledge among undergraduate Chaucer students.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277229">
    <dcterms:title><![CDATA[Generic Mix in Chaucer&#039;s &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Indicates Chaucer&#039;s mixture of genres in CT, and assesses the &quot;inversion of normative genres and usage of multigeneric construction&quot; in NPT to convey significant themes and in ManT to pose a disturbing &quot;pseudo-moral.&quot; Includes an abstract in Serbian.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261283">
    <dcterms:title><![CDATA[Generic Variations on the Theme of Poetic and Civic Authority]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the equation of political and poetic authority in the works of Chaucer and his contemporaries.  Historical romance tends to legitimize political authority and to cite poetic authority, while the fabliau pretends to chronicle true occurences and hence does not cite poetic authority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263361">
    <dcterms:title><![CDATA[Genre and Authority: The Eighteenth-Century Creation of Chaucerian Burlesque]]></dcterms:title>
    <dcterms:description><![CDATA[A double reception was given Th in the eighteenth century.  Dane agrees with Warton that Th is not a &quot;grave heroic narrative&quot; but a humorous tale.  The burlesque Th is an eighteenth-century creation.  Treats genre of Th and SqT and twentieth-century reception of Th.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269554">
    <dcterms:title><![CDATA[Genre and Gender in Chaucer&#039;s Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Increased concern with female characters in KnT distinguishes it from traditional epics, and its presentation of women and gender relationships embodies &quot;evolutionary changes&quot; in the romance genre. Nonetheless, Emily is imprisoned at the end &quot;in yet another impoverished pattern of femininity designed for her by men.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270897">
    <dcterms:title><![CDATA[Genre and Source in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Chaucer&#039;s understanding of &quot;tragedy&quot; in Bo, MkT, and TC, tracing this understanding to Dante&#039;s use of the term in his &quot;Inferno,&quot; where it is affiliated with history. In TC, Chaucer chose to emulate Boccaccio&#039;s &quot;Filostrato&quot; because doing so allowed him to explain an &quot;original catastrophe [the fall of Troy] by exploring the origins of a catastrophic love affair.&quot; Chaucer found, however, that such an explanation cannot be sustained. Reprinted as &quot;&#039;Troilus and Criseyde&#039;: Genre and Source&quot; in Frank Grady and Andrew Galloway, eds. Answerable Style: The Idea of the Literary in Medieval England (Columbus: Ohio State University Press), pp. 244-62.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269234">
    <dcterms:title><![CDATA[Genre in and of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Ferster explores the importance of genre for understanding CT, a collection of different genres. Discusses how Chaucer stretches, plays with, and interrogates genre by combining features of genre and the expectations they create. Concentrates on the use of medieval estates satire and the representation of the narrator in GP. Also considers the dramatic approach to CT and the slipperiness of genre in the Tales, especially MkT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265878">
    <dcterms:title><![CDATA[Genre, Convention, Parody, and the &#039;Middle Flight&#039;: &#039;Heike Monogatari&#039; and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Despite the difficulties of comparing literature cross-culturally, CT and the &quot;Heike Monogatari&quot; are similar in their &quot;middle&quot; styles, their adaptability to parody, and their capacious allusions to &quot;native and foreign literary studies.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268881">
    <dcterms:title><![CDATA[Genre, Gender, and Power : A Study of Address Forms in Seven Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Pakkala-Weckstrom applies linguistic &quot;politeness theory&quot; to the use of pronouns as &quot;forms of address in male/female dialogue&quot; in MilT, MerT, ShT, ClT, Mel, WBT, and FranT. Usage is similar in the romances and religious tales but differs in the fabliaux; social class complicates patterns of usage in male and female speech.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271739">
    <dcterms:title><![CDATA[Genres and Themes: A Reaction to Two Views of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews two books about Chaucer: &quot;Language of Chaucer&#039;s Poetry: An Appraisal of Verse, Style and Structure&quot; by Norman E. Eliason; and &quot;Disembodied Laughter: &#039;Troilus&#039; and the Apotheosis Tradition&quot; by John M. Steadman.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262620">
    <dcterms:title><![CDATA[Genres, Themes, and Images in English Literature from the Fourteenth to the Fifteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Fourteen articles by various hands.  For five essays that pertain to Chaucer, search for Genres, Themes, and Images in English Literature from the Fourteenth to the Fifteenth Century under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268061">
    <dcterms:title><![CDATA[Gentelesse und Gentils: Der Weltliche Adel und Seine Werte in Geoffrey Chaucers Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[A study of the ethical and social dimensions of gentilesse and gentils in KnT, WBT, ClT, MerT, SqT, FranT, Th, Mel, MkT, NPT, ManT, and SumT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265329">
    <dcterms:title><![CDATA[Gentle Men, &#039;Lufly&#039; and &#039;Loothly&#039; Ladies, &#039;Aghlich Maysters&#039;: Characterization in &#039;The Wife of Bath&#039;s Tale&#039; and &#039;Sir Gawain and the Green Knight&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;Gawain&quot; poet and Chaucer (through the mediating Wife of Bath) modify conventional details of character, description, and action, producing protagonists who develop or who come to self-awareness in ways more complicated than elsewhere in the tradition of English romance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265503">
    <dcterms:title><![CDATA[Gentrification and the &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, Chaucer uses not only sophisticated, upper-class materials but also lower-class matter that has &quot;moved &#039;upward&#039; into the most prestigious and learned layers of medieval discourse.&quot;  This &quot;gentrification&quot; can best be seen in Chaucer&#039;s use of legends, charms, curses, oaths, and proverbs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261577">
    <dcterms:title><![CDATA[Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Biographical review; consideration of the fourteenth-century cultural context; and critical discussion of all of Chaucer&#039;s works.  Half of the chapters are devoted to the CT, divided by subject and tone into secular romances, fabliaux, religious romances, tales with satiric warnings, and sermons.  Other chapters treat love and fame, The Consolation of Philosophy in love and politics, TC, and Chaucer&#039;s comic vision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263137">
    <dcterms:title><![CDATA[Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Sees Chaucer&#039;s world in the midst of change from feudalism to mercantilism.  Threats to society represented by dream visions must yet be integrated into the rational structure. The CT pilgrimage is a Peasant&#039;s Revolt in reverse.  Knight takes a socioeconomic approach to WBT, PardT, SumT, and FrT. Incompetent in private life, Troilus is an effective public figure; Criseyde is ineffectual in public life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263387">
    <dcterms:title><![CDATA[Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Nine previously published essays or exerpts. Topics include Chaucer&#039;s &quot;greatness&quot; (G. K. Chesterton), the ending of TC (E. Talbot Donaldson), the impact of MerT (E. Talbot Donaldson), Wife of Bath as narrator (David Parker), Chaucer in the Renaissance (Alice S. Miskimin), the &quot;idea&quot; of CT (Donald R. Howard), the order of the CT (Charles A. Owen, Jr.), the meaning of NPT(Saul Nathaniel Brody), and symbols in CT (Stewart Justman).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263918">
    <dcterms:title><![CDATA[Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty previously published essays, in English or German, and a bibliography (447-69) arranged by individual work. The volume opens with Erzgräber&#039;s &quot;Chaucer-Forschung im 20. Jahrhundert:  Einleitung&quot; (pp. 1-31), an introduction to the essays included and twentieth-century Chaucer studies.]]></dcterms:description>
</rdf:Description></rdf:RDF>