<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/275691">
    <dcterms:title><![CDATA[Immersion and Defamiliarization: Experiencing Literature and World.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes &quot;the concept of immersion as seen from cognitive narratology&quot; and the &quot;concept of defamiliarization as seen from unnatural narratology,&quot; applying these theoretical constructs to BD, Jorge Luis Borges&#039;s &quot;The Circular Ruin,&quot; and Franz Kafka&#039;s &quot;The Country Doctor, focusing on dreaming and grieving, and exploring how the narratological processes of these works encourage, inflect, disrupt, and represent the reading experience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275701">
    <dcterms:title><![CDATA[Immersive Reading: Dreamers and Their Books in Late Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that fourteenth-and fifteenth-century dream visions &quot;challenged routine modes of thinking about and being in the world.&quot; Chapter 4 includes discussion of stained glass in HF and John Lydgate&#039;s &quot;Temple of Glass.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265219">
    <dcterms:title><![CDATA[Imperfect Analogies: Parody in Chaucer and Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses thematic and structural implications of parody and analogy in various Chaucerian works and other medival literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267772">
    <dcterms:title><![CDATA[Imperfect Heroes and the Consolations of Boethius : The Double Meaning of Suffering in Chaucer&#039;s Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer leaves both suffering and heroism &quot;open to ambiguous interpretation&quot; in KnT, prompting readers to go beyond disorder and hopelessness and discover Boethian consolation, which is anchored in recognition of the true good.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270694">
    <dcterms:title><![CDATA[Impersonal Constructions and Narrative Structure in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Jimura cites instances of impersonal constructions in TC and KnT in which verbs of &quot;occurrence or happening&quot; (e.g., &quot;befal,&quot; &quot;hap&quot;) are used to present important events and to suggest inevitability.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267504">
    <dcterms:title><![CDATA[Impersonal Constructions in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the development of the impersonal to the personal construction on the basis of evidence found in Chaucer.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271471">
    <dcterms:title><![CDATA[Impersonating Boethius in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the medieval interest in Boethius as a personal model as well as a literary influence, with particular regard to Usk&#039;s deployment of Boethius in an effort at self-justification and Hoccleve&#039;s connections between Boethius and Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276655">
    <dcterms:title><![CDATA[Impingham&#039;s Borrowings from Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Transcribes (with modern punctuation, capitalization, and commentary) a 26-line compilation of proverbial misogynistic sentiment from London, British Library MS Harley 7333, fol. 121v-122r, attributed there to &quot;Impingham,&quot; identified by Manly and Rickert (1940) as Benedict Burgh. Identifies an allusion to MerT and eight lines adapted from TC 1.951-52, RvT 1.4181-82; KnT 1.1523-24, and MilT 1.3229-30.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266704">
    <dcterms:title><![CDATA[Impolitic Bodies: Poetry, Saints, and Society in Fifteenth-Century England. The Work of Osbern Bokenham]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Bokenham&#039;s &quot;Legends of Holy Women&quot; as a parody of Chaucer&#039;s LGW, itself a parody of hagiography.  By inverting Chaucer&#039;s parody, Bokenham critiques Chaucer&#039;s emphasis on the classics and reasserts an Augustinian emphasis on Christian aesthetics and ideals.]]></dcterms:description>
    <dcterms:description><![CDATA[Bokenham structures his work in imitation of LGW, but he reflects a more distinct concern with the female body and its parts.  Supported by wealthy female patrons of Clare Abbey, Bokenham wages a &quot;modest struggle&quot; against the antifeminism of traditional hagiography.]]></dcterms:description>
    <dcterms:description><![CDATA[Through its Yorkist partisanship, his work casts light on contemporary concern with dynastic succession, especially as transmitted through females.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269260">
    <dcterms:title><![CDATA[Impossible Journeys]]></dcterms:title>
    <dcterms:description><![CDATA[Lyons describes twenty-four journeys derived from early travelogues, now known to be fictional or fanciful. Includes description of the likely spurious &quot;Inventio Fortunata,&quot; attributed to Nicholas of Lynn by Richard Hakluyt. Also speculates that Nicholas of MilT may be based on Nicholas of Lynn. Section titles imitate CT (e.g., &quot;The Walker&#039;s Tale,&quot; &quot;The Mapmaker&#039;s Tale&quot;).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276484">
    <dcterms:title><![CDATA[Impostures.]]></dcterms:title>
    <dcterms:description><![CDATA[Translates al-Harırı&#039;s Arabic classic &quot;Maqamat,&quot; with sections imitating<br />
or emulating the styles of various writers in English (Mark Twain, Virginia<br />
Woolf, John Lyly, etc.). The &quot;Author&#039;s Retraction&quot; is &quot;modeled on&quot; Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276485">
    <dcterms:title><![CDATA[Impostures.]]></dcterms:title>
    <dcterms:description><![CDATA[Translates al-Harırı&#039;s Arabic classic &quot;Maqamat,&quot; with sections imitating or emulating the styles of various writers in English (Mark Twain, Virginia Woolf, John Lyly, etc.). The &quot;Author&#039;s Retraction&quot; is &quot;modeled on&quot; Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270117">
    <dcterms:title><![CDATA[Imprecise Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[An examination of Chaucer&#039;s use of temporal terminology--from references to &quot;eternity and perpetuity&quot; to references to seconds and moments, including seasons, days, nights, and hours--suggests that he uses such terminology with a modicum of &quot;nonchalance.&quot; This inexact use of temporal vocabulary &quot;subordinates science to literary aims.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272601">
    <dcterms:title><![CDATA[Imprisoning and Ensnarement in &#039;Troilus&#039; and &#039;The Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the imagery and diction of hunting, snaring, imprisoning, and entrapment in TC and KnT, showing how it informs the concern with destiny, freedom, and interpersonal manipulation in the poems.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274845">
    <dcterms:title><![CDATA[Improper Translations: Naming and Vernacular Poetics in Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers names in BD as part of a larger examination of nomenclature&#039;s role in defining Englishness within the context of other linguistic traditions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265598">
    <dcterms:title><![CDATA[In a Nutshell: &#039;Verba&#039; and &#039;Sententia&#039; and Matter and Form in Medieval Composition Theory]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval rhetorical textbooks and school commentaries illuminate Chaucer&#039;s attention to literal meaning.  Discussions of such devices as amplification and abbreviation help explain interrelations and conflicts between poetical structures and individual narratives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274687">
    <dcterms:title><![CDATA[In Appreciation of Metrical Abnormality: Headless Lines and Initial Inversion in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Observes that in Chaucer&#039;s short-line verse, headless lines are much more common than initial inversion, whereas in his iambic pentameter the exact opposite occurs. Argues that Chaucer and his predecessors used such metrical license &quot;very deliberately, not only for emphasis and rhetorical effect but also to clarify narrative and syntactical organization.&quot; Notes in particular its appearance &quot;in the context of non-indicative moods, lists and catalogues, direct speeches and changes of addressee, transition between narrative sections, and enjambement.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268776">
    <dcterms:title><![CDATA[In bourde and in pleye : Mankind and the Problem of Comic Derision in Medieval English Religious Plays]]></dcterms:title>
    <dcterms:description><![CDATA[Includes references to Chaucer&#039;s fabliaux.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275102">
    <dcterms:title><![CDATA[In Briddes Wise: Chaucer&#039;s Avian Poetics.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the speech of Chaucer&#039;s birds and claims that Chaucer &quot;endows the avian world with a series of communicative strategies as diverse as--and profoundly linked to--his own poetic strategies.&quot; Looks at SqT, GP, and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262801">
    <dcterms:title><![CDATA[In Defence of Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys theories of Criseyde&#039;s betrayal in TC; maintains that her depravity results in Pandarus&#039;s deliberate actions and Troilus&#039;s passion, along with her own weaknesses; and emphasizes Chaucer&#039;s characterization of Criseyde as a complex woman.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272514">
    <dcterms:title><![CDATA[In Defence of Francesca: Human and Divine Love in Dante and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;Inferno&quot; V does not justify dismissing Francesca&#039;s love for Paolo as &quot;lust,&quot; given the continuity between the &quot;disiato riso&quot; that leads them to kiss and the &quot;santo riso&quot; of Beatrice that draws Dante upward to Paradise. Echoing Dante and Guinizelli, Chaucer shows Troilus discovering a divine dimension in human existence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276279">
    <dcterms:title><![CDATA[In Defence of Lot.]]></dcterms:title>
    <dcterms:description><![CDATA[Explains that Chaucer&#039;s source for his account of Lot&#039;s incest, followed as it is by reference to Herod and the slaying of John (PardT 7.485-91), is likely to have been Peter Comestor&#039;s &quot;Historia Libri Genesis&quot; rather than the biblical account. Also treats Langland&#039;s accounts of Lot in &quot;Piers Plowman.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277694">
    <dcterms:title><![CDATA[In Defense of Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on previous criticism of the character of Criseyde, and explores the &quot;infinite suggestiveness&quot; of her more positive characteristics such as self-knowledge, charm, and desire to please others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263325">
    <dcterms:title><![CDATA[In Defense of Criseyde: A Modern &#039;Scientific Heroine&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrary to contentions of A. C. Spearing and others that Criseyde is a passive heroine &quot;at the mercy of events,&quot; Criseyde is a decisive figure who actively takes charge of her own destiny.  She is representative of emerging &quot;scientific&quot; intellectual tendencies to weigh new propositions on the basis of their observable merits and relative values rather than judging them on the basis of received truths.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262551">
    <dcterms:title><![CDATA[In Defense of Diomede: &#039;Moral Gower&#039; and &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Critics have argued that Chaucer intended the reader to view Criseyde as a woman destined to be a whore, Diomede as an unscrupulous seducer, and Troilus as an ideal knight.  But if a fourteenth-century view is adopted, Diomede can be viewed in a favorable light, whereas Troilus cannot.  In the &quot;Confessio&quot; and in other works, the &quot;moral Gower&quot; argues that &quot;Troilus lost Criseyde because he was guilty of sacrilege,&quot; that Criseyde was a prostitute, and that Diomede was &quot;gentil.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>