<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/263309">
    <dcterms:title><![CDATA[&#039;Troilus and Criseyde&#039;: The Politics of Love]]></dcterms:title>
    <dcterms:description><![CDATA[To be part of the courtly love tradition, TC must exist outside the patriarchal feudal order and allow male and female equal power.  However, the reality of a hierarchical social order creates ambivalence in the narrator toward his material.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261995">
    <dcterms:title><![CDATA[&#039;Troilus and Criseyde&#039;: The Problems of Love and Necessity]]></dcterms:title>
    <dcterms:description><![CDATA[By proposing aesthetic and religious inevitability, the palinode to TC relieves the reader&#039;s frustration at Chaucer&#039;s deliberately ambiguous characterization of the poem&#039;s three main characters and shows the unity underlying the seemingly diverse philosophical, religious, and courtly considerations with which previous criticism has been chiefly concerned.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263061">
    <dcterms:title><![CDATA[&#039;Troilus and Criseyde&#039;: The Question of Chaucer&#039;s Revisions]]></dcterms:title>
    <dcterms:description><![CDATA[Against the revision theories of R. K. Root, Barry Windeatt&#039;s edition of TC argues that Chaucer began by translating Boccaccio, then filling in &quot;reflective and &#039;philosophic&#039; material.&quot;  Arguments from context support Root rather than Windeatt; Windeatt&#039;s edition is nevertheless a valuable scholarly tool.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263828">
    <dcterms:title><![CDATA[&#039;Troilus the Syke&#039;: Boethian Medical Imagery in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[As Deiphebus observes (TC 2.1572), Troilus is indeed &quot;sick&quot; from love.  Following Boethian medical imagery in &quot;Consolatio,&quot; bk. 1, Chaucer interprets his passion as a moral disease:  Troilus declines through affection, passion,and bestiality into death.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264642">
    <dcterms:title><![CDATA[&#039;Troilus,&#039; Books I-III: A Criseydan Reading]]></dcterms:title>
    <dcterms:description><![CDATA[C. S. Lewis was right to emphasize Criseyde&#039;s timorousness.  She is unambitious and moderate, and the cosy, unheroic situation in Troy in the first three books suits her well. ]]></dcterms:description>
    <dcterms:description><![CDATA[It is a slightly childlike and worldly situation--as contrasted with the adult and urbane world of the Greek camp.  Though Troilus may be the titular hero of the poem, surely Criseyde is the more memorable and the more fully developed creation, and much of the strength of the Criseydan strain in TC comes from the peculiar affinity of Criseyde and what finally is not just Thesean man, but Chaucerian man.  She and not the poem&#039;s hero may be the more profoundly autobiographical creation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266301">
    <dcterms:title><![CDATA[&#039;Troilus&#039; &#039;Predestination Soliloquy&#039; and Machaut&#039;s &#039;Jugement du Roy de Behaigne&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores similarities between the love-lorn knight of Machaut&#039;s &quot;Jugement&quot; and Troilus, including their mutual concern with Fortune and their misunderstanding of Providence, their failure to comprehend human freedom, and the ways their speeches combine seriocomic befuddlement with earnest philosophical inquiry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262805">
    <dcterms:title><![CDATA[&#039;Troilus&#039; and the Disenchantment of Romance,]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews Chaucer&#039;s use of Benoit&#039;s &quot;Roman de Troie,&quot; as well as romance &quot;type-scenes,&quot; gestures, ritual, narrating voice, and motifs of secrecy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263823">
    <dcterms:title><![CDATA[&#039;Troilus&#039; Book V: Invention and the Poem as Process]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s &quot;inventio&quot; results in a rearrangement of concepts at the end of TC--a result of the process of composition.  Exploiting the narrator, TC is in accord with Boethian and Aquinan aesthetics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264644">
    <dcterms:title><![CDATA[&#039;Troilus&#039; Swoon]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s addition of Troilus&#039; swoon allows reestablishment of &quot;obeisaunce&quot; critical to Criseyde&#039;s loving him, and threatened by Pandarus&#039; story of his jealousy and his own inability to refute or continue it.  Mutual apologies suggest mutual surrender and Chaucer&#039;s attention to the fine points of relationships.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265121">
    <dcterms:title><![CDATA[&#039;Troilus&#039; V, 1786-92 and V, 1807-27: An Example of Poetic Process]]></dcterms:title>
    <dcterms:description><![CDATA[In the epilogue Chaucer addresses his book as &quot;litel myn tragedye,&quot; adding that God might prompt him still to make it into &quot;som comedye.&quot;  This objective is achieved when Troilus (recalling &quot;Paradiso,&quot; XXII) transcends tragedy and attains celestial bliss, laughing at the follies of this world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265346">
    <dcterms:title><![CDATA[&#039;Trouthe&#039; Without Consequences: Rhetoric and Gender in the &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer situates Dorigen, who is bound to contradictory roles as faithful wife and courtly mistress, within contradictory rhetorical schemes that metonymically reinforce and undercut notions of truth and &quot;fin amors.&quot;  Through carefully constructed textual fissures, he subverts utopian ideologies and exposes the human cost exacted by rhetorical displacements of desire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266353">
    <dcterms:title><![CDATA[&#039;Troy Book&#039;: How Lydgate Translates Chaucer into Latin]]></dcterms:title>
    <dcterms:description><![CDATA[By inserting elements of Chaucerian narrative and language and making direct references to Chaucer and TC, Lydgate replaces the Latin model of literary accomplishment with a vernacular model, thus translating Chaucer&#039;s English writing into the high social and political position originally occupied by Latin works such as Guido delle Colonne&#039;s &quot;Historia destructionis Troiae,&quot; Lydgate&#039;s chief source.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261717">
    <dcterms:title><![CDATA[&#039;Truth&#039; and &#039;Woman&#039; in Chaucer&#039;s Franklin&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the interrelations of &quot;truth,&quot; &quot;freedom,&quot; and &quot;woman&quot; as these terms are constructed in FranT.  The Franklin&#039;s masculinist discourse posits distinctions between truth and fiction, appearance and reality, plain speaking and rhetoric, although each term is contaminated by its opposite.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270145">
    <dcterms:title><![CDATA[&#039;Tu es pélérin en la sainte cité&#039;: Chaucer&#039;s Knight and Philippe de Mézières]]></dcterms:title>
    <dcterms:description><![CDATA[Vander Elst argues that the &quot;life and writings of the French soldier and statesman Philippe de Mézières&quot; inspired &quot;almost every line&quot; of Chaucer&#039;s description of the Knight in GP. This inspiration evinces the circulation of Philippe&#039;s works in Chaucer&#039;s milieu, indicates that the GP description is both realistic and idealistic, and suggests that Chaucer supported Philippe&#039;s efforts to encourage reconciliation between England and France.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267879">
    <dcterms:title><![CDATA[&#039;Twenty Thousand More&#039;: Some Fifteenth- and Sixteenth-Century Responses to The Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Boffey summarizes the various numbers of legends included in LGW and in references to the work and assesses concern with these numbers. She considers LGW in light of the tradition of nine female Worthies in literature and the visual arts and in light of illustrated versions of Ovid&#039;s &quot;Heroides.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267325">
    <dcterms:title><![CDATA[&#039;Tyl Mercurius House He Flye&#039; : Early Printed Texts and Critical Readings of the Squire&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Although modern readers read SqT as parody, such a reading would have seemed &quot;preposterous&quot; to pre-eighteenth-century readers, who were concerned with sententiae. Pairing tales, pouring over large sections of text, and engaging in self-reflections (although possibly intended by Chaucer) are modern methods of viewing literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263514">
    <dcterms:title><![CDATA[&#039;Ubi Peccaverant, Ibi Punirentur&#039;: The Oak Tree and the &#039;Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer draws on the symbolic and scriptural traditions of the oak to permit the Pardoner to show off his exemplum-telling skill.  Anagogically the exemplum is an allegory of grace offered and refused.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265225">
    <dcterms:title><![CDATA[&#039;Under the Schaddow of Ane Hawthorne Grene&#039;: The Hawthorn in Medieval Love Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the biblical, folkloric, and courtly imagery of thorns and hawthorn trees, which indicate the &quot;presence of misguided love.&quot;  Considers use of the imagery in a wide variety of works, including KnT and some Chaucerian apocrypha.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265983">
    <dcterms:title><![CDATA[&#039;Unspun&#039; Heroes: Iconography of the Spinning Woman in the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[While the iconography of the spinning woman is generally considered to represent domestic virtue, it can also demonstrate either a model of misaligned femininity, as exemplified by Cenobia in MkT (7.2373-74), or an instance of role reversal--a mark of opprobrium within the male domain--as evidenced by Absolon in MilT (1.3774-75).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262183">
    <dcterms:title><![CDATA[&#039;Unwemmed Custance&#039;: Circulation, Property, and Incest in the &#039;Man of Law&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer explores the &quot;citation and corruption of media&quot; in MLT by having the lawyer tell a tale of &quot;pseudo-circulation&quot; in which Custance remains constant despite her apparent circulation and use.  The tale enacts the Man of Law&#039;s anxieties about change, narrative, and the &quot;finitude&quot; of writing, while at the same time it reflects Chaucer&#039;s anxieties about endings and his own position, vis-a-vis Gower, as &quot;a poet of fragments.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273072">
    <dcterms:title><![CDATA[&#039;up and down to wynde&#039; (II. 601): Criseyde&#039;s Mental Court in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces Criseyde&#039;s mental and emotional movement through the plot of TC, and argues that, for Chaucer, Fortune does not have to do only with the change of external world, but also with man&#039;s interiority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261888">
    <dcterms:title><![CDATA[&#039;Up roos oure Hoost, and was oure aller cok&#039;: Harry Bailly&#039;s Tale-Telling Competition]]></dcterms:title>
    <dcterms:description><![CDATA[Internal evidence about Harry Bailly&#039;s literary aesthetic suggests that he would have chosen the Nun&#039;s Priest as the winner of the &quot;soper&quot; at the Tabard.  The priest&#039;s &quot;sentence,&quot; &quot;solaas,&quot; conviviality, and obvious masculinity are the deciding factors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265303">
    <dcterms:title><![CDATA[&#039;Upon the Viritoot&#039;: A Chaucerian Portmanteau]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;viritoot&quot; of MilT 3870 is probably a top used in a game.  The word caused Chaucer&#039;s scribes considerable difficulty and might be a nonce-word. The image conveys Absolon&#039;s mental and physical energy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265259">
    <dcterms:title><![CDATA[&#039;Ut Pictura Poesis&#039;: A Critique of Robert Jordan&#039;s &#039;Chaucer and the Shape of Creation&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Refashions the Neo-Platonic &quot;Timaean&quot; aesthetic proposed by Jordan (Cambridge, 1967), focusing on the painting imagery used by Alain de Lille in his discussion of the creative acts of God, Nature, and writers.  Despite Jordan&#039;s claims for the importance of rhetorical surface, Alain thinks that visual and verbal forms somehow enact the truth and that artistic intentions can be discovered.  These views may be fruitfully applied to Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264222">
    <dcterms:title><![CDATA[&#039;Ut Pictura Poesis&#039;: Dryden&#039;s &#039;Aeneis&#039; and &#039;Palamon and Arcite&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In his translation of KnT, Dryden imposed a number of pictorial effects--colors, emblems, icons, static scenes, and landscapes--to transform Chaucer into a seventeenth-century gentleman.]]></dcterms:description>
</rdf:Description></rdf:RDF>