<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/262425">
    <dcterms:title><![CDATA[&#039;Thynk Wel Love Is Free&#039;--Tragic Love in &#039;The Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines KnT with special attention to Arcite&#039;s definition of love, presented with deep sympathy by the narrator--a sympathy infused, nonetheless, with a strong sense of despair.  (In Japanese.)]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272541">
    <dcterms:title><![CDATA[&#039;Thys litel tretys&#039; Again]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the meanings and referents of &quot;tretys&quot; in MelP and in Ret, suggesting that the first usage is not particularly doctrinal and that the second refers to ParsT rather than CT as a whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271918">
    <dcterms:title><![CDATA[&#039;To Aleppo gone&#039;: From the North Sea to Syria in Chaucer&#039;s &#039;Man of Law&#039;s Tale&#039; and Shakespeare&#039;s &#039;Macbeth&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In MLT, Custance&#039;s first husband is the &quot;Sowdan of Surrye,&quot; and in &quot;Macbeth&quot; the witches plot to scourge a shipmaster who is &quot;to Aleppo gone.&quot; That both texts treat Syria and the northern reaches of Great Britain as complementary zones, in space as well as time, permits a plausible linkage between MLT and &quot;Macbeth,&quot; and a common awareness of Islamic and Christian otherness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269877">
    <dcterms:title><![CDATA[&#039;To Alisoun now wol I tellen al my love-longing&#039;: Chaucer&#039;s Treatment of the Courtly Love Discourse in The Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[In MilT, Alison resists Absolon&#039;s efforts to compel her to perform courtly behavior and chooses her &quot;own predicates&quot; of behavior, thus establishing her identity and coercing Absolon to abandon his failed courtly role.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264698">
    <dcterms:title><![CDATA[&#039;to boille the chiknes with the marybones&#039;: Hodge&#039;s Kitchen Revisited]]></dcterms:title>
    <dcterms:description><![CDATA[Food and eating provide central images and activities in Chaucer&#039;s poetry.  Misunderstanding the foods mentioned, Chaucer&#039;s readers may miss points essential to their comprehension of his poetry.  The revolution in tastes and eating habits may be more a matter of emphasis than of basic techniques and ingredients.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271456">
    <dcterms:title><![CDATA[&#039;To demen by interrogaciouns&#039;: Accessing the Christian Context of the &#039;Canterbury Tales&#039; with Enquiry-Based Learning]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how &quot;enquiry-based learning (EBL)&quot; as a pedagogical approach can be used to help undergraduate students understand Chaucer&#039;s religious context in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272951">
    <dcterms:title><![CDATA[&#039;To Doon Yow Ese&#039;: A Study of the Host in the &#039;General Prologue&#039; of the Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the diction and details of the description of the Host, Harry Bailly, in GP, especially as they are developed in the dramatic action of GP in anticipation of the Host&#039;s comic slips later in CT. Discusses his merriness; his concern with sentence and solace, money, and literary quality; and his deference to the Knight. Also discusses the pilgrims&#039; reactions to his suggestions and the narrator&#039;s tacit views.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262380">
    <dcterms:title><![CDATA[&#039;To Ears of Flesh and Blood&#039;: Some Uses of the Sensational in Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the emotional exploitation of the grotesque and sensational in the light of various modern critical views.  Analyzes writings from Old English homilies to Margery Kempe, including Chaucer&#039;s ClT and PhyT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269911">
    <dcterms:title><![CDATA[&#039;To Grisilde again wol I me dresse&#039;: Readdressing The Clerk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Complex intertextual relationships among ClT and its multiple sources, as well as the complex political implications of ClT, reinforce the Tale&#039;s &quot;habit of returning its readers to the multiplicity of interpretation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263783">
    <dcterms:title><![CDATA[&#039;To Knytte up al this Feeste&#039;: The Parson&#039;s Rhetoric and the Ending of the &#039;Canterbury Tales&#039;,]]></dcterms:title>
    <dcterms:description><![CDATA[ParsT is not a moral touchstone for judging all the tales but merely another example of a character&#039;s way of ordering his experience of truth through language and deliberate rhetorical patterning.  The plain prose style embraces only one side of the dialectic of solemnity and play established in the GP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270807">
    <dcterms:title><![CDATA[&#039;To Late for to Crie&#039;: Female Desire, Fabliau Politics, and Classical Legend in Chaucer&#039;s Reeve&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[RvT &quot;confronts the paradoxical status of women&#039;s desire&quot; in medieval Christian and feudal systems. The Tale&#039;s &quot;significant divergences from the fabliau tradition&quot; and several resemblances to the story of Theseus and Ariadne help undercut KnT; its obscenity is a &quot;critique of aristocratic culture.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263535">
    <dcterms:title><![CDATA[&#039;To Make in Som Comedye&#039;: Chaunticleer, Son of Troy]]></dcterms:title>
    <dcterms:description><![CDATA[NPT achieves the status of high comedy when one perceives that its fowl hero, Chauntecleer, is a commentary on Troilus of the earlier TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265084">
    <dcterms:title><![CDATA[&#039;To Maken Illusioun&#039;: The Philosophy of Magic and the Magic of Philosophy in the &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrary to prevailing criticism, Dorigien&#039;s rash promise is based on the reality of the experiential world.  The tension arises when this reality appears an illusion, according to the Boethian concept of reality.  When the world is neither real nor illusory, the only reality is man&#039;s control of his own will.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261395">
    <dcterms:title><![CDATA[&#039;To Parte That Wol Nat Departed Be&#039;: A Plot-Analysis of the Summoner&#039;s Tale and Its Analogues]]></dcterms:title>
    <dcterms:description><![CDATA[Based on Roland Barthes&#039;s work on the structural analysis of narrative texts, this essay assesses SumT and two analogues.  Hertog describes a model for the recognition of similar events in fiction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264964">
    <dcterms:title><![CDATA[&#039;To Rosemonde&#039;: Chaucer&#039;s &#039;Gentil&#039; Dramatic Monologue]]></dcterms:title>
    <dcterms:description><![CDATA[The speaker of Ros appears to be the earliest instance of the &quot;persona&quot; whom Chaucer presents in full dress in BD and develops in all subsequent major works.  This early conception is already so complex and original as to justify the scribe&#039;s admiring &quot;tres gentil.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266883">
    <dcterms:title><![CDATA[&#039;To Scotlond-ward His Foomen for to Seke&#039;: Chaucer, the Scots, and the Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Places the anti-Scottish legendary history of MLT into English historiographic tradition, especially Trevet&#039;s Chronicle. Argues that Chaucer implicitly supports England&#039;s claim to the overlordship of Scotland, a claim renewed by Henry IV and indirectly endorsed in Chaucer&#039;s &quot;Purse.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264572">
    <dcterms:title><![CDATA[&#039;To Speke of Wo that Is in Marriage&#039;: The Marital Arts in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Evidence about medieval marital relationships appears in &quot;auctoritee&quot;--Church and civil records--and in &quot;experience&quot; reflected in literature.  Legal and penitential documents depict an astounding range of sources of marital conflict, especially sexual transgressions.  Medieval literature, from lyrics such as the &quot;chansons de mal mariee,&quot; to CT, to &quot;Piers the Plowman&quot; and the drama cycles, generally focuses on infidelity and shrewishness as two principal sources of marital discord.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269676">
    <dcterms:title><![CDATA[&#039;To thenke what was in hir wille&#039;: A Female Reading Context for the Findern Anthology]]></dcterms:title>
    <dcterms:description><![CDATA[Female involvement in construction of the Findern anthology (Cambridge University Library MS Ff 1.6) resulted in &quot;subtle interventions&quot; in thematic concerns of several works included in the anthology: for example, &quot;female eloquence&quot; (in Gower&#039;s story of Peronelle and in Richard Roos&#039;s translation of Alain Chartier&#039;s La Belle Dame Sans Mercy) and the &quot;tension between female choice and social compulsion&quot; (in PF).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270889">
    <dcterms:title><![CDATA[&#039;To walke aboute the mase, in certeynte, / As a woman that nothing rought&#039;: The Maze Motif and Feminine Imagination in &#039;The Assembly of Ladies&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The anonymous author of &quot;The Assembly of Ladies&quot; counterdefines herself against a clearly Chaucerian courtly tradition by allying herself with a distinctly feminine textuality that is opposed to a traditional masculine hermeneutics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266617">
    <dcterms:title><![CDATA[&#039;To Whom Shul We Compleyn?&#039; The Poetics of Agency in Chaucer&#039;s Complaints]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s complaints develop a &quot;poetics of agency&quot; as they explore questions of subjectivity and causation.  His most sophisticated complaint, Mars, presents &quot;incompatible forms of causation&quot; but makes them congruent poetically, achieving a compassion that links subjectivity to the larger created world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270839">
    <dcterms:title><![CDATA[&#039;To wondre upon this thyng&#039;: Chaucer&#039;s Prioress&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[PrT depicts &quot;the production and exigencies of wonder&quot; in concert with the ambiguity and inscrutability of the miraculous. The abbot reestablishes the distinction between the animate and the inanimate by removing the mysterious &quot;greyn,&quot; which does not &quot;produce song&quot; but instead &quot;prolongs wonder.&quot; Medieval religious wonder, in turn, may provoke both passivity before what cannot be assimilated and &quot;an active desire to assimilate and appropriate it.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271461">
    <dcterms:title><![CDATA[&#039;Toward the fen&#039;: Church and Churl in Chaucer&#039;s Fabliaux]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s exploration of the relationship between churls and the Church in the GP, and in Chaucer&#039;s fabliaux, particularly MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271769">
    <dcterms:title><![CDATA[&#039;Translatio&#039;: &#039;Difficult Statement&#039; in Medieval Poetic Theory]]></dcterms:title>
    <dcterms:description><![CDATA[Traces commentaries on metaphor (&quot;translatio&quot;) among medieval classicizing poets and rhetoricians, especially Alan de Lille and Geoffrey of Vinsauf, and examines samples of metaphor in Chaucer&#039;s works that reflect these commentaries. Focuses on &quot;complex metaphors&quot; that guide episodes or complete narratives, e.g., the garden in MerT, pilgrimage in CT, etc.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270171">
    <dcterms:title><![CDATA[&#039;Tregetours&#039; in &#039;The Franklin&#039;s Tale&#039;: Stage Magic and Siege Machines]]></dcterms:title>
    <dcterms:description><![CDATA[Glossed in &quot;The Riverside Chaucer&quot; as &quot;illusionists, magicians,&quot; tregetours cause their subjects to experience &quot;a fall from cognitive certitude to amazement and bafflement,&quot; a result that is captured in the &quot;associational field&quot; that includes both Middle English &quot;tregetour&quot; and &quot;trepeget,&quot; a siege machine. The two terms arise, respectively, from Old French &quot;tresjeter,&quot; &quot;to throw over,&quot; and &quot;trebuchier,&quot; &quot;to cast down.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262591">
    <dcterms:title><![CDATA[&#039;Troilus &amp; Criseyde&#039; and the First Version of Hardyng&#039;s &#039;Chronicle&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Hardyng&#039;s borrowings from TC for &quot;rhetorical plums,&quot; especially the &quot;exclamatio.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>