<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/265621">
    <dcterms:title><![CDATA[How to Pronounce Berwick: A Curious Paradigm of Chaucer&#039;s Bishop Bradwardine]]></dcterms:title>
    <dcterms:description><![CDATA[While we cannot be sure of Chaucer&#039;s pronunciation of &quot;Berwyk&quot; (CT 1.792), one manuscript version of Bradwardine&#039;s memory treatise may suggest the loss of medial (w).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276239">
    <dcterms:title><![CDATA[How to Read Both: The Logic of True Contradictions in Chaucer&#039;s World.]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that &quot;medieval thought was continually pushed toward true contradictions . . . despite [the] impossibility imposed by classical logic,&quot; citing Aristotle, Abelard, Jean Buridan, Aquinas, and modern thinkers such as Hegel and Graham Priest (who labeled true contradictions &quot;dialetheia&quot;). Argues that, as &quot;a lie of profound moral necessity,&quot; fiction is the &quot;prime tool&quot; for confronting true contradictions, exploring them in Arthurian works, &quot;Pearl,&quot; &quot;Piers Plowman,&quot; the ending of TC, and the Pardoner&#039;s &quot;fundamental contradiction&quot; of simultaneously accepting and rejecting eternal judgment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272375">
    <dcterms:title><![CDATA[How to Say &#039;I&#039;: the Clerk, the Wife and Petrarch]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the relationship between the Wife of Bath and the Clerk, focusing on their shared approach to self-presentation through the words of other writers and their interrelationship as speakers. Highlights the Wife&#039;s use of clerical authority and the Clerk&#039;s sudden &quot;verbal ingenuity&quot; when speaking about marital issues in his Envoy, after he departs from his Petrarchan source material and speaks, in a sense, in his own voice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265386">
    <dcterms:title><![CDATA[How to See Through Women: Medieval Blazons and the Male Gaze]]></dcterms:title>
    <dcterms:description><![CDATA[The portrayal of &quot;faire White&quot; in BD reflects the double vision--physical and metaphysical--of rhetorical description in Geoffrey of Vinsauf, Joseph of Exeter, and Alain de Lille.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267719">
    <dcterms:title><![CDATA[How to Study Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Originally published in 1988. Designed for examination preparation, this guide poses a series of issues for GP and the individual tales in CT; TC; and the dream poems, especially PF: kind of work, what it is about, characterization, the argument, narrator and narrative, and text in context. The guide also includes recommendations for writing an essay about Chaucer, a survey of current topics and debates, and suggestions for further reading.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276870">
    <dcterms:title><![CDATA[How to Teach &quot;The Canterbury Tales&quot; in (My Own) Translation.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes &quot;the author&#039;s work as a translator&quot; of CT &quot;and how she uses this translation in the classroom.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269547">
    <dcterms:title><![CDATA[Howard&#039;s Idea and the Idea of Hypertext]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;kinship&quot; between hypertext theory and the mode of analysis in Donald Howard&#039;s The Idea of the &quot;Canterbury Tales&quot; (1976), commenting on memory and associative thinking, nonlinearity and closure, and the technology of the book. Also comments on the implications of this kinship in pedagogy and criticism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266259">
    <dcterms:title><![CDATA[Hugh von Lincoln und der Mythos vom judischen Ritualmord]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the medieval mythographic accounts about Little Hugh (e.g., Matthew Paris, Chaucer&#039;s PrT); transformation into popular ballads, nursery rhymes, and Romantic verse (Child, Arnim, Brentano, Heine); and modern appropriations in A. Zweig&#039;s &quot;Ritualmord in Ungarn&quot; and Bernard Malamud&#039;s &quot;The Fixer.&quot;  Explains the anti-Semitisim in PrT as originating in unsolved conflicts within medieval Christianity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275538">
    <dcterms:title><![CDATA[Hughes and the Middle Ages.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes aspects of Hughes&#039;s &quot;imaginative encounter with the Middle Ages,&quot; particularly his reading of &quot;Sir Gawain and the Green Knight,&quot; Chaucer&#039;s works, and those of Dante, exploring how these works influenced his poetry and thoughts on literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261619">
    <dcterms:title><![CDATA[Human and Divine Love in Chaucer and Gower]]></dcterms:title>
    <dcterms:description><![CDATA[Attitudes toward earthly and heavenly love in Chaucer&#039;s TC and Gower&#039;s Confessio Amantis, Chaucer&#039;s and Gower&#039;s references to each other, and the presence of phrasal similarities in the two works suggest that Chaucer&#039;s ending to TC &quot;is to be explained both as a literary outbidding, a retort to Gower, and as a sincere statement of a deep religious feeling.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262358">
    <dcterms:title><![CDATA[Humanism and Language in Chaucer&#039;s Dream Visions]]></dcterms:title>
    <dcterms:description><![CDATA[Boardman traces Chaucer&#039;s humanism in BD, HF, and PF, &quot;where he evolved a language capable of serving both tradition and experience while reserving a critical, even skeptical, attitude toward them....  Chaucer is &#039;involved yet objective, detached yet sympathetically moved&#039;;]]></dcterms:description>
    <dcterms:description><![CDATA[  his art strikes an &#039;ironic balance between realism and idealism,&#039; characterized by comic seriousness, mirth and morality, skeptical fideism and moral realism.&quot;  Chaucer&#039;s humanism is neither easy nor inevitable.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263940">
    <dcterms:title><![CDATA[Humanism in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Although fools hardly appear in Chaucer, in his own self-caricature the poet often plays the clown, as in CT and TC. Italian influence on Chaucer&#039;s comic vision is greater than that of the French &quot;fabliaux.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269975">
    <dcterms:title><![CDATA[Humanism, Reading, and English Literature 1430-1530]]></dcterms:title>
    <dcterms:description><![CDATA[Explores &quot;reading habits&quot; in fifteenth-century England and the extent to which they are part of the humanist movement, examining how manuscript glossing, responses, and other forms of commentary reflect philological, stylistic, and political attitudes that characterize humanism. Assesses reactions to Chaucer&#039;s Bo in manuscripts and Caxton&#039;s edition and comments on awareness of Chaucer&#039;s classicizing interests among fifteenth-century writers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277428">
    <dcterms:title><![CDATA[Humility and Empire: Anne of Bohemia, Chaucer, and the Virgin Mary.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes cultural contact and marital negotiations among Plantagenets, Bohemians, and Viscontis as background to Anne of Bohemia&#039;s recurrent presence in Chaucer&#039;s works, often as an imperial daughter and/or mediatrix, and often reflecting &quot;Marian dynamics,&quot; i.e., &quot;instant transitioning from intimacy to awe.&quot; Includes analysis of portions of ABC, TC, LGW, KnT, ClT, and MLT as well as aspects of the Wilton Diptych and Latin verse elegies on Anne&#039;s tomb.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272013">
    <dcterms:title><![CDATA[Humility and Obedience in the &#039;Clerk&#039;s Tale,&#039; with the Envoy Considered as an Ironic Affirmation]]></dcterms:title>
    <dcterms:description><![CDATA[Observes structural and thematic parallels between ClT and its Envoy, arguing that both refute the Wife of Bath&#039;s attitudes, one through alternative perspective and the other through mockery.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267450">
    <dcterms:title><![CDATA[Humor and Humor and Humor and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Explains Chaucer&#039;s humor as the &quot;healthy expression of a spiritually sound man&quot; faced with a decadent world and surmises that Chaucer was publicly cuckolded by Philippa and John of Gaunt.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275053">
    <dcterms:title><![CDATA[Humor and Humoralism: Representing Bodily Experience in the Prologue of the &quot;Siege of Thebes.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Reinforces connections between the prologue to Lydgate&#039;s &quot;Siege of Thebes&quot; and CT. Claims Lydgate responds to Chaucer&#039;s caricature of the Monk in defense of monasticism; alludes to the Monk&#039;s portrait and the person of the Host in GP; borrows references to the Monk&#039;s manliness in Mel-MkL, rewriting them in terms of gluttony rather than sexuality; and makes his Host echo Pertelote&#039;s advice in NPT. Claims that the &quot;body humor&quot; in Lydgate&#039;s prologue bolsters monastic authority and flatters its audience while cautioning it against interference in monastic affairs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277240">
    <dcterms:title><![CDATA[Humor e Ironia em Geoffrey Chaucer: O Conto do Molerio X O Conto do Feitor.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses humor and irony in MilT and RvT, with attention to satire and Bakhtinian concerns of social class. In Portuguese, with an abstract in English. Revised by Márcia Maria de Medeiros as &quot;Figurações do Humor em Geoffrey Chaucer--Uma Leitura de &#039;The Canterbury Tales&#039;.&quot; In Suellen Cordovil de Silva, and Tiago Marques Luiz, eds. O Humor nas Literaturas de Expressão de Línqua Inglesa (São Paulo: Paco Editorial, 2018), pp. 13-38.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266445">
    <dcterms:title><![CDATA[Humor in British Literature, From the Middle Ages to the Restoration: A Reference Guide]]></dcterms:title>
    <dcterms:description><![CDATA[Chronological description of humor in British literature, with individual discursive bibliographies on literary humor in the fourteenth through seventeenth centuries and on individual writers in these periods.  Surveys the criticism of humor in Chaucer&#039;s works (pp. 16-27).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270736">
    <dcterms:title><![CDATA[Humor in Perspective]]></dcterms:title>
    <dcterms:description><![CDATA[Commenting on the paucity of studies that directly address humor in Chaucer, Kendrick explores modern theories and medieval attitudes toward humor, especially as related to notions of tolerance. She examines instances in Chaucer, Deschamps, and medieval visual art where humor depends on &quot;seeing and reading close-up,&quot; including examples from CT, especially GP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273278">
    <dcterms:title><![CDATA[Humor in the &quot;Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines several bawdy puns, &quot;incongruous situations,&quot; and other humorous ironies in KnT, suggesting that they are unintended by the Knight yet consistent with Chaucer&#039;s depiction of him as &quot;a romantic, caught by reality but aspiring to the ideal&quot; that is embodied in rituals, forms, and high style.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277630">
    <dcterms:title><![CDATA[Humorous Structures of English Narratives, 1200-1600.]]></dcterms:title>
    <dcterms:description><![CDATA[Tests several theories of humor--especially Victor Raskin and Salvatore Attardo&#039;s &quot;General Theory of Verbal Humor&quot; (1985) and Thomas D. Cooke&#039;s &quot;Comic Climax&quot; (1978)--for their value in analyzing Elizabethan jests and medieval fabliaux, parodies, and—as counter examples—tragedies. Focuses on narratological structures and stylistic devices in a number of texts, including Chaucer&#039;s fabliaux--MilT, RvT, SumT, MerT, and ShT--exploring how, if, and to what extent they are funny and how useful the theories are in explaining their humor.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274242">
    <dcterms:title><![CDATA[Humour in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Chaucer&#039;s humor and irony in the love consummation scene in TC, and how he frames terminology as courtly love, while undermining the concept.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262273">
    <dcterms:title><![CDATA[Humour in Literature: Three Levels]]></dcterms:title>
    <dcterms:description><![CDATA[Humor may be classified as visual, antirepressive, and linguistic-stylistic (sophisticated and often ironic).  Gloss treats seven authors of four nationalities, including Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277252">
    <dcterms:title><![CDATA[Humour in the Petitionary Poems by Chaucer and Hoccleve.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the comic humor of Chaucer&#039;s Purse and Thomas Hoccleve&#039;s &quot;Complaint to Lady Money&quot; and &quot;La Response,&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>