<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/261476">
    <dcterms:title><![CDATA[L&#039;imagination medievale: Chaucer et ses contemporains]]></dcterms:title>
    <dcterms:description><![CDATA[Ten essays by various hands. For essays that pertain to Chaucer, search for L&#039;imagination medievale under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271821">
    <dcterms:title><![CDATA[L&#039;O de V: A Palimpsest]]></dcterms:title>
    <dcterms:description><![CDATA[Experimental juxtapositioning of Virginia&#039;s rape in PhyT, Chaucer&#039;s interaction with Cecily Chaumpaigne, and &quot;The Story of O&quot; (1954), presented as a text caught in the act of being edited, complete with palimpsests of strikeouts, text additions, and so forth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270786">
    <dcterms:title><![CDATA[L&#039;orient de Mandeville: Voyager par le texte]]></dcterms:title>
    <dcterms:description><![CDATA[Includes introductory comments on displacement in Antiquity and the Middle Ages, specifically the meaning of travel in Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276608">
    <dcterms:title><![CDATA[La &quot;llave del recuerdo&quot; y los anómalos relatos de metamorfosis en &quot;The Legend of Good Women&quot; de Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies Chaucer&#039;s engagement with Ovidian sources to consider how LGW is a &quot;narrative of metamorphosis.&quot; Argues that the metamorphosis is due to the creative process of &quot;&quot;vernacularization of the classical authority,&quot;&quot;which establishes a shared cultural memory in the vernacular.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262724">
    <dcterms:title><![CDATA[La circolazione dei temi e degli intrecci narrativi: Il caso Griselda. Atti del convegno di studi, L&#039;Aquila, 3-4 dicembre 1986]]></dcterms:title>
    <dcterms:description><![CDATA[A collection of ten articles by various hands, in Italian, concerning the spread and development of the Griselda tradition in Italy, England, Iceland, Germany, and Bohemia, among other Eruopean countries. ]]></dcterms:description>
    <dcterms:description><![CDATA[Morabito presents a repertoire of the diffusion of the Griselda story throughout Europe; Michael Olson examines auto-correction in the Griselda cycle.  Dora Faraci discusses Griselda in England; Anna Maria Iorio, in Italy in the seventeenth century; Raul Mordenti, in Italy during the Counter-Reformation; Hubert Seelow, in Iceland; Monika Rossteuscher, in Germany; Zuzana Pospisilova, in Bohemia.  Walter Tortoreto discusses the legend in musical theater in early seventeenth century.]]></dcterms:description>
    <dcterms:description><![CDATA[In Italian.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270939">
    <dcterms:title><![CDATA[La Cita y Otros Cuentos de Mujeres Infieles]]></dcterms:title>
    <dcterms:description><![CDATA[An anthology in Spanish of seventeen pieces of short fiction from international medieval and modern sources, and a prologue by Montero that discusses the motif of the unfaithful woman. Includes WBPT (pp. 89-119).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268781">
    <dcterms:title><![CDATA[La complémentarité : Mélanges offerts à Josseline Bidard et Arlette Sancery à l&#039;occasion de leur départ en retraite]]></dcterms:title>
    <dcterms:description><![CDATA[Includes seven essays that pertain to Chaucer. For individual essays search for La complémentarité under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268827">
    <dcterms:title><![CDATA[La complémentarité du prologue de Beryn et des Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Though posed as a continuation of CT, the Prologue to the Tale of Beryn emphasizes a return from Canterbury to London, from the sacred to the profane. Sentence and solaas are reduced to the merely &quot;glad and merry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268934">
    <dcterms:title><![CDATA[La construcción ficcionel en las colecciones de cuentos medievales : Libro del conde lucanor, Decameron, y Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Three features characterize the collections of tales of Don Juan Manuel, Boccaccio, and Chaucer, especially as they relate to cultural context: marks of realism or authentication, thematic concern with unity and diversity, and the presence of the author and his relationship with his audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262455">
    <dcterms:title><![CDATA[La Diffusione della Storia de Griselda dal XIV al XX Secolo]]></dcterms:title>
    <dcterms:description><![CDATA[Morabito attempts to provide the fullest bibliography possible for the diffusion of the Griselda story throughout Europe.  Beginning in 1350 with the &quot;Decameron,&quot; the bibliography is arranged chronologically for each of twenty-one languages.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266227">
    <dcterms:title><![CDATA[La divulgacion de la obra de Chaucer en Espanol: Algunas observaciones sobre una version indirecta de &#039;The Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[A previously unknown Spanish translation of MerT derives not from Chaucer&#039;s original but from the English translation by Alexander Pope.  Castillo provides biography of Canary Islander Graciliano Alfonso Naranjo, who may have been the author of the Spanish version.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271329">
    <dcterms:title><![CDATA[La Fidelidad Conyugal en Cuatro Relatos del Siglo XIV]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; cited in MLA International Bibliography, which indicates that the essay addresses marital fidelity in CT, Boccaccio&#039;s &quot;Decameron,&quot; and Juan Manuel&#039;s &quot;El Conde Lucanor.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274138">
    <dcterms:title><![CDATA[La figure du cheval dans la littérature médiévale anglaise: réalité et motif.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies how horse figures function in telling, traveling, and space definition in &quot;Les quatre fils Aymon,&quot; &quot;Sir Gawain and the Green Knight, GP, SqT, and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277234">
    <dcterms:title><![CDATA[La Historia de Troilo y Cresida en Chaucer y en Shakespeare: Evolución y Psicología del Personaje Pandaro.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. Identified in WorldCat record.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273393">
    <dcterms:title><![CDATA[La Lectura Pasoliniana de &quot;Cuentos de Canterbury.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes Pasolini&#039;s version of CT in the context of Eco&#039;s and Pasolini&#039;s debate about semiology and the relation of reality and art. Thus, the Italian filmmaker creates a filmic narrative reflecting Chaucer&#039;s historicity of frontier, in the topics, the characters, and the notions of seriousness and of laughter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267449">
    <dcterms:title><![CDATA[La letteratura medioinglese dalla Conquista Normanna al XV secolo]]></dcterms:title>
    <dcterms:description><![CDATA[A brief description of the works of Chaucer and his contemporaries; the second chapter of a history of English literature designed for Italian undergraduate study.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269946">
    <dcterms:title><![CDATA[La lettre du texte]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the function of medieval inscribed or letter-shaped jewels and similar objects, referring to Chaucer&#039;s Prioress and to TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276609">
    <dcterms:title><![CDATA[La leyenda de Dido, de Geoffrey Chaucer: Hipotextos y pluralidad de voces.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes how the &quot;Legend of Dido&quot; differs from Virgil&#039;s &quot;Aeneid&quot; and Ovid&#039;s &quot;Heroides,&quot; VII. Claims that Chaucer&#039;s narrator is more self-referential and that the plurality of voices of the narrator, along with the characters&#039; voices, results in a growing complexity that problematizes the interpretation of the legend. This &quot;multivocality&quot; anticipates techniques used in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274740">
    <dcterms:title><![CDATA[La literatura inglesa medieval en Sudamerica: Jorge Elliott y &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the translation techniques used in the Spanish version of MilT and RvT made between 1949 and 1956 by Chilean scholar, theater director and translator Jorge Elliott Garcia. Claims that the purpose of this verse translation was to increase the readership of CT by offering a more poetic rendering, aiming at providing an effect equivalent to that of the original.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271367">
    <dcterms:title><![CDATA[La Mujer de Bath; El Bulero]]></dcterms:title>
    <dcterms:description><![CDATA[Item not located; cited in WorldCat, which reports that the volume includes WBT and PardT in the Spanish translations by Manuel Pérez y del Río-Cosa (originally published in 1921).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274191">
    <dcterms:title><![CDATA[La musique de l&#039;absence dans le lai breton moyen-anglais &quot;Sir Orfeo.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores issues of absence, death, exile, silence, orality, and musical performance in &quot;Sir Orfeo&quot; to find connections with FranT. Approaches &quot;Sir Orfeo&quot; as a reflection on how Chaucer depicts the professional art and artists and lay-makers in FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273086">
    <dcterms:title><![CDATA[La musique du vers dans les lais bretons et le décasyllable du&#039; Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Concentrates on rhythm in FranT and contends that FranT is successful as a poetic composition, but cannot claim to be a Breton  lay.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275873">
    <dcterms:title><![CDATA[La Narration des Émotions et la Réactivité du Destinataire dans &quot;Les Contes de Canterbury&quot; de Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how Chaucer uses interactive body signs in CT to convey emotions and engage his readers in the process of understanding, focusing on his &quot;style kinésique&quot; and exemplifying its effects in examples drawn from SqT and MLP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264282">
    <dcterms:title><![CDATA[La Narrativa del Medioeve Inglese]]></dcterms:title>
    <dcterms:description><![CDATA[Trans. Joan Krakover Hall as &quot;English Medieval Narrative in the 13th and 14th Centuries&quot; (Cambridge: Cambridge University Press, 1982).]]></dcterms:description>
    <dcterms:description><![CDATA[The earliest Middle English narratives, e.g., exempla in sermons, served practical purposes.  More deliberately artistic ends can be seen in later collections of legends, exempla, and comic tales; Chaucer and Gower are even more aesthetically sophisticated. ]]></dcterms:description>
    <dcterms:description><![CDATA[Most non-Chaucerian Middle English narratives were intended for recitation (here critical concepts of Auerbach, Bakhtin,Contini, Curtius, Frye, Genette, and the Russian formalists are applied to religious tradition, romance, dream poems, etc.), but Chaucer was the first English author to write consciously for a reading public.  BD, HF, PF, TC, LGW, and CT draw innovatively upon written tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268281">
    <dcterms:title><![CDATA[La non-métamorphose de Céyx et Alcyone dans le Livre de la Duchesse de Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[In BD, the omission of the transformation of Ceyx and Alcyone--included in other versions of the narrative--runs counter to the expectation of readers, thus exacerbating the anti-consolatory element in the adjacent narrator&#039;s dream.]]></dcterms:description>
</rdf:Description></rdf:RDF>