<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/267797">
    <dcterms:title><![CDATA[Gofraidh Fionn Ó Dálaigh&#039;s Analogue to Geoffrey Chaucer&#039;s Wife of Bath&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Proposes that &quot;A Ghearóid déana mo dhail&quot; (ca. 1338-56) be added to the list of analogues to WBT. It involves an interaction between a human and &quot;fairy&quot; being in which the human is rewarded for appropriate behavior; the outcome of the interaction pertains to sexual relations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270280">
    <dcterms:title><![CDATA[Gold and Iron: Semantic Change and Social Change in Chaucer&#039;s Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies various instances from GP where Chaucer &quot;shows in his deployment of nonce-words, key-words, status-terms and moral terms, that character and language are inseparable, that words and values change as societies change, that the only true value attaches to virtue, which must be sought beyond the flux of words, since terms of value are particularly vulnerable to change in the hands of the ambitious.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275358">
    <dcterms:title><![CDATA[Gold Coins in Medieval English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes medieval coins referred to in Chaucer and other Middle English literature, particularly the florin, noble, &#039;écu&#039; or shield, &#039;mouton d&#039;or,&#039; and ducat. Comments on the designs, values, and usage of these coins and corrects several misconceptions in literary analysis, particularly confusion between the English ducat and the Italian ducat in discussions of PardT 6.774. Illustrates these coins in two plates.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273772">
    <dcterms:title><![CDATA[Good and Bad Fridays and May 3 in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the implications of three interrelated allusions in Chaucer&#039;s works (TC 2.55ff., KnT 1.1462ff., and NPT 7.3187ff.), observing connections &quot;between Friday, May 3, Venus, the May festival season, and the Invention of the Cross,&quot; connections that Chaucer &quot;intended&quot; and that pose tensions between sensual and sacred love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276528">
    <dcterms:title><![CDATA[Good Fun: Cecily Chaumpaigne and the Ethics of Chaucerian Obscenity]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the long-standing view of Chaucer as a fun, perhaps obscene writer, suggesting that readers &quot;are invested in protecting their ability to enjoy Chaucer freely.&quot; References Kate Manne&#039;s notion of &quot;himpathy,&quot; or the &quot;excessive sympathy&quot; felt toward men accused of crimes, to examine how views of Chaucer as a bawdy author have contaminated treatments of Chaumpaigne&#039;s case and depiction. Suggests adopting Sara Ahmed&#039;s role of &quot;feminist killjoy&quot; as an antidote to &quot;himpathy&quot; toward Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267040">
    <dcterms:title><![CDATA[Good Vibrations : John/Eleanor, Dame Alys, the Pardoner, and Foucault]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how the Pardoner and his interruption of WBP challenge the heteronormativity of CT. The opening lines of GP and WBT establish a heterosexual norm that the presence of the Pardoner challenges by making clear the constructed and contestable nature of the norm, a challenge similar to Lollard heterodoxy. Observes similarities between CkT and a London record of a cross-dressing prostitute; argues that fiction and archives can together be used to construct a queer history, important to a queer future.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265863">
    <dcterms:title><![CDATA[Good Wif Was Ther of Biside Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the medieval features of the characterization in Eilis Ni Dhuibhne&#039;s &quot;The Wife of Bath&quot; (Dublin, 1989).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266012">
    <dcterms:title><![CDATA[Good Women and &#039;Bonnes Dames&#039;: Virtuous Females in Chaucer and Christine De Pizan]]></dcterms:title>
    <dcterms:description><![CDATA[In LGW, Chaucer asks, &quot;Can women be faithful in love?&quot;  Christine asks, &quot;Does virtue recognize gender?&quot;  Chaucer&#039;s &quot;good women&quot; are judged according to their relationships with men; Christine&#039;s are considered as separate beings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271353">
    <dcterms:title><![CDATA[Goodbye Gutenberg: Hello to a New Generation of Readers and Writers]]></dcterms:title>
    <dcterms:description><![CDATA[Recounts Kirchenbaum&#039;s career and thoughts as an innovative teacher who uses creative design to inspire her students, arranged as a series of examples from international history and personal experience. Includes &quot;Measuring the Immeasurable: Chaucer&quot; (pp. 268-73), a description of the design and use in high school of a version of RvT in multi-color typefaces.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265688">
    <dcterms:title><![CDATA[Goon A Blakeberyed]]></dcterms:title>
    <dcterms:description><![CDATA[Explains PardT 6.406 to mean &quot;to be damned&quot; in light of the figurative associations of brambles with sins and the picking of fruit with spiritually dangerous activity, corroborated in exegetical commentary and other medieval literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263708">
    <dcterms:title><![CDATA[Gospel Asceticism: Some Chaucerian Images of Perfection]]></dcterms:title>
    <dcterms:description><![CDATA[For his worldly, depraved clerics, Chaucer draws not on the actual world but on &quot;crabbed Latin texts monkish in their aspirations and unworldly in their doctrines,&quot; i.e., upon scriptural exegesis and ascetic theology, as in GP&#039;s Summoner, Friar, Pardoner, and Monk and in SumT, FrT, ShT, and MilT.  Explains GP&#039;s Monk by reference to Peter Damian&#039;s &quot;Lettre sur la Toute-Puissance divine&quot; and Dante&#039;s &quot;Paradiso&quot; 21.118-20; and the GP Squire and Absolom (MilT), Chaucer&#039;s fops, by Jerome.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269647">
    <dcterms:title><![CDATA[Gossip and (Un)official Writing]]></dcterms:title>
    <dcterms:description><![CDATA[Gossip transgresses the servant-master relationship in CYP, and CYT indicates that gossip underpins the discourse of official culture as well. Gossip is also fundamental to the exemplarity of Robert Mannyng&#039;s Handlyng Synne.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267507">
    <dcterms:title><![CDATA[Gossip&#039;s Work : The Problems and Pleasures of Not-So-Idle Talk in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Gossip, its meaning shifting from idle woman to idle talk, was treated as sinful and suspect in much clerical literature, including ParsT. Gossip in HF, WBP, and ShT provided Chaucer not only narrative techniques but also a method of experimentation with narrative. Phillips analyzes other works, especially Dunbar&#039;s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270420">
    <dcterms:title><![CDATA[Gothic Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplifies a variety of &quot;inconsistencies and discontinuities&quot; in Chaucer&#039;s works, particularly CT, presenting them as typical of the poet&#039;s &quot;Gothic&quot; aesthetics and consistent with contemporaneous art and the &quot;complex cultural pluralism&quot; of his age,&quot; which is described here.  Juxtaposition, opposition, paradox, inorganic disunity, and fusion of genres (especially &quot;anatomy&quot; and romance) are more typical of Chaucer&#039;s art than of his contemporaries and are characteristic of his depictions of women, religion, and the responsibilities of the artist.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267394">
    <dcterms:title><![CDATA[Gothic Folds in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes three types of pleats or folds in CT: graceful or classical drapings of the cloak of the Prioress; artificial folds &quot;pynched&quot; on her wimple, characteristic of Gothic art; and &quot;wyndynge,&quot; which the Parson reproaches as a waste of cloth and which anticipates Baroque fashion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261359">
    <dcterms:title><![CDATA[Gothic Rhetoric in Edifices of Word and Stone]]></dcterms:title>
    <dcterms:description><![CDATA[Gothic aesthetic combines opposing propensities for regularity and embellishment.  These features are manifest in Dante&#039;s Commedia, while CT is more irregular and improvisatory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274850">
    <dcterms:title><![CDATA[Gothic Wonder: Art, Artifice and the Decorated Style, 1290--1350.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes and illustrates the &quot;visual arts as a whole&quot; in late medieval England. The index records some twenty references to Chaucer, including a section on HF (pp. 345–48) that shows that &quot;the two largest passages of writing about architecture at the end of the [fourteenth] century are found in HF and that its lexicon mediate[s] between verbal and visual craft.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261954">
    <dcterms:title><![CDATA[Governance in the &#039;Physician&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[PhyT treats appearance and reality, fraud and honesty at the individual, familial, political, and cosmic levels of governance.  Virginius&#039; pardon of Claudius can be seen as an act that, on the cosmic level, affirms God&#039;s charitable governance and returns a chaotic world to its highest order.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266192">
    <dcterms:title><![CDATA[Governing the &#039;Cook&#039;s Tale&#039; in Bodley 686]]></dcterms:title>
    <dcterms:description><![CDATA[By adding forty-five lines in &quot;quasi-Langlandian&quot; alliterative personification allegory to CkT, the Bodley scribe creates a second distinctive narrative voice that competes with Chaucer&#039;s own.  The deliberate moral ending &quot;governs&quot; both Perykn and Chaucer, who left &quot;some badly-spun text threatening to unravel.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273021">
    <dcterms:title><![CDATA[Gower Agonistes and Chaucer on Ovid (and Virgil)]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Gower was &quot;emulous and rivalrous,&quot; and eager to better the work of Ovid, Chaucer, and even his own early poetry. Compares Chaucer&#039;s use of the Ovidian tale of Ceyx and Alcyone, in BD and HF, with Gower&#039;s use of the same material in the &quot;Visio Anglie&quot; and in the final &quot;Confessio Amantis&quot; reuse of the Ceyx and Alcione matter. Concludes that Gower&#039;s mastery of Latin writers, especially of Ovid, was greater than Chaucer&#039;s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271490">
    <dcterms:title><![CDATA[Gower and &#039;The Canterbury Tales&#039;: The Enticement to Fraud]]></dcterms:title>
    <dcterms:description><![CDATA[Offers recommendations for teaching Gower in relation to Chaucer&#039;s CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276995">
    <dcterms:title><![CDATA[Gower and Anglo-Latin Verse.]]></dcterms:title>
    <dcterms:description><![CDATA[Chapter 3, &quot;Gower and Estates Satire before Chaucer,&quot; includes brief mention of Chaucer in situating and analyzing Gower&#039;s uses of estates satire in his &quot;Mirour de l&#039;Omme,&quot; &quot;Vox Clamantis,&quot; and Confessio<br />
Amantis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271935">
    <dcterms:title><![CDATA[Gower and Chaucer on Pain and Suffering: Jepte&#039;s Daughter in the Bible, the &#039;Physician&#039;s Tale&#039; and the &#039;Confessio Amantis&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Unlike their biblical source, Chaucer&#039;s and Gower&#039;s allusions to Jephthah&#039;s daughter indicate concern with pain and emotional suffering. Also considers the illustration in Pierpont Morgan Library, MS M.126 that accompanies Gower&#039;s tale of Virginia in &quot;Confessio Amantis.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271468">
    <dcterms:title><![CDATA[Gower and Chaucer: Readings of Ovid in Late Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Briefly surveys uses of Ovid in late-medieval England, and compares Chaucer&#039;s and John Gower&#039;s engagements with Ovid&#039;s works and moralized version of them. Focuses on creative uses of Ovid in Gower&#039;s &quot;Vox Clamantis&quot; (Book 1),  in the Pyramus and Thisbe and the Theseus and Ariadne narratives in LGW and Gower&#039;s &quot;Confessio Amantis,&quot; and in ManT and the analogous account in Gower&#039;s &quot;Confessio.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275032">
    <dcterms:title><![CDATA[Gower and Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes four aspects of the critical tradition of exploring relations between Gower&#039;s and Chaucer&#039;s poetry--&quot;biography, common literary sources and analogues [especially in WBT, MLT, and Philomela in LGW], thematic issues, and poetics/style&quot;--surveying the field and commending studies that consider how the poets&#039; &quot;union allows us greater understanding of their respective works and their literary environment,&quot; rather than preferring one poet over the other.]]></dcterms:description>
</rdf:Description></rdf:RDF>