<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/273765">
    <dcterms:title><![CDATA[Los Cuentos de Canterbury.]]></dcterms:title>
    <dcterms:description><![CDATA[Spanish prose translation of CT, with illustrations in color and b&amp;w by Aguilar More.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276515">
    <dcterms:title><![CDATA[Los escritores ricardianos y la consolidación de la literatura en inglés medio.]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews development of late fourteenth-century English poetry and the canonization and recognition of Chaucer and Gower as founders of English literature. Claims that their literature contributes to a sense of belonging, through the use of the vernacular and the construction of a public voice, in cultural communities.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265867">
    <dcterms:title><![CDATA[Los Maridos en &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes the literary and social position of women in Chaucer&#039;s time and discusses the various marital relationships in CT.]]></dcterms:description>
    <dcterms:description><![CDATA[  Assesses MilT, WBPT, ClT, MerT, FranT, ShT, and ManT, observing how the works focus on one or more of the following:  adultery, authority, battle of the sexes, patience, age differences in marriage, and the dangers of jealousy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275949">
    <dcterms:title><![CDATA[Los nombres de los vinos españoles en la literatura inglesa: Una panorámica desde Chaucer (s. XIV) y Shakespeare (s. XVI) hasta los victorianos Dickens y Thackeray (s. XIX).&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the presence of Spanish wine in England through literary references, starting with a brief survey of Chaucer. Contends that Chaucer&#039;s familiarity with Spanish wines such as sherry in PardT is attributable both to his father&#039;s business and to his travels as a diplomat.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267908">
    <dcterms:title><![CDATA[Lose Heart, Gain Heaven : The False Reciprocity of Gain and Loss in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Dividing TC into eighteen episodes highlights a series of analogous and oppositional relations centering on &quot;ethical debt&quot;; in addition, the poem&#039;s action can be charted through four cycles. Similar patterns, in some instances less symmetrical, underlie MilT, RvT, and WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262507">
    <dcterms:title><![CDATA[Loss and Restitution in the &#039;Book of the Dutchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[BD &quot;questions the very nature of the relation between text and interpretation.&quot;  Each of the four divisions of the poem examines a different relation of source and text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267287">
    <dcterms:title><![CDATA[Loss, Grief, Reminiscence, and Popular Culture in Chaucer&#039;s Book of the Duchess]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the process of consolation in BD in light of modern theories of grief and reminiscence therapy, arguing that the numerology of the poem provides closure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273927">
    <dcterms:title><![CDATA[Lost Chaucer: Natalie Wood&#039;s &#039;The Deadly Riddle&#039; and the Golden Age of American Television.]]></dcterms:title>
    <dcterms:description><![CDATA[Recounts efforts to find &quot;film elements&quot; (recorded vestiges) of &quot;The Deadly Riddle,&quot; a 1956 television version of WBT, produced by Roy Huggins for &quot;Warner Brothers Presents,&quot; starring Natalie Wood and Jacques Sernas. Only paratextual material provides evidence of the lost recording, indicating loose adaptation of WBT, yet enabling a fantasy of reconstruction. Also, CT may be seen as the &quot;originary origin&quot; for framed serial storytelling, a recurrent technique of television and radio]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262099">
    <dcterms:title><![CDATA[Lost Hearts : &#039;Troilus and Criseyde&#039;, Book II, Lines 925-31]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Chaucer conflated lovers&#039; exchange of hearts with the &quot;topos&quot; of the &quot;avis predalis&quot; tearing out the heart of its victim.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271683">
    <dcterms:title><![CDATA[Lost in a Good Book: A Novel]]></dcterms:title>
    <dcterms:description><![CDATA[Comic novel featuring literary detective Thursday Next, set in a world where reality and literature are permeable. Includes references to Chaucer, to discrepancies in CT, and to many works of fiction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264187">
    <dcterms:title><![CDATA[Lost in the Funhouse of Fame: Chaucer and Postmoderism]]></dcterms:title>
    <dcterms:description><![CDATA[Nabokov, Barth, and Joyce have rediscovered the solipsistic mode of fiction of which Chaucer was an accomplished practitioner.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269905">
    <dcterms:title><![CDATA[Lost in the Not-So-Fun House: Subversive Threads in the Medieval Narrative Labyrinth]]></dcterms:title>
    <dcterms:description><![CDATA[Risden explores how several medieval narratives &quot;subvert&quot; readers&#039; expectations and &quot;hint at the loneliness of the moral act.&quot; Includes comments on WBP, as well as on &quot;Beowulf,&quot; &quot;Sir Gawain and the Green Knight,&quot; &quot;Piers Plowman,&quot; and other works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265415">
    <dcterms:title><![CDATA[Lost in Translation: The Vicissitudes of the Heroine and the Immasculation of the Reader in a Seventeenth-Century Paraphrase of &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Influenced by the conventions of Renaissance Petrarchism, Jonathan Sidnam&#039;s seventeenth-century translation/paraphrase of TC suppresses Chaucer&#039;s intimations that his poem may be read by both men and women in a way that transcends gender. Observing this, the modern reader can recognize the uniqueness of Chaucer&#039;s representation of the story.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271182">
    <dcterms:title><![CDATA[Lost in Translation?]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty-five essays by various authors on topics that pertain to translation in the Middle Ages and the translation of medieval literature; the volume includes an index that lists many references to Chaucer.  For two essays that pertain to Chaucer, search for Lost in Translation? under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268079">
    <dcterms:title><![CDATA[Lost Property: The Woman Writer and English Literary History, 1380-1589]]></dcterms:title>
    <dcterms:description><![CDATA[Historicizing the &quot;commonplace&quot; conception that women writers stand in opposition to literary tradition, Summit assesses how the conception itself &quot;dialectically fashioned both &#039;the woman writer&#039; and &#039;English literature&#039; in the medieval and early modern periods.&quot; In Chaucer, &quot;&#039;the lost woman writer&#039; embodies the disjunction between vernacular writing and the classical canon.&quot; Women writers &quot;embody textual loss and cultural instability&quot; in HF, Anel, TC, and LGW, and through them Chaucer &quot;explores the problems of writing outside authoritarian models of literary tradition.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[For later writers and critics (Christine de Pizan, Margery Kempe, Anne Askew, Elizabeth I, John Bale, Thomas Bentley, George Puttenham), the figure of the female writer serves similar functions and thereby &quot;becomes central to English literature&#039;s very invention,&quot; especially under Elizabeth I.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268841">
    <dcterms:title><![CDATA[Louise Erdrich&#039;s Lulu Nanapush : A Modern-Day Wife of Bath?]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the possible influence of CT on the frame-tale structure of Erdrich&#039;s &quot;Tales of Burning Love&quot; and considers to what extent parallels between the Wife of Bath and Lulu Nanapush (&quot;Love Medicine&quot;) indicate that Chaucer&#039;s work is a source for Urdich&#039;s. Identifies eight parallels between Alison and Lulu.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273818">
    <dcterms:title><![CDATA[Love and &quot;Foul Delight&quot;: Some Contrasted Attitudes.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the attitude toward sexual love expressed in Andreas Capellanus&#039;s &quot;De Arte Honeste Amandi,&quot; contrasting it with the &quot;innocent sincerity in sexual love&quot; that is characteristic of Chaucer&#039;s Troilus (and Shakespeare&#039;s), also considering the casuistry of love depicted in &quot;The Book of the Knight of La Tour-Landry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273507">
    <dcterms:title><![CDATA[Love and Apocalypse in Chaucer&#039;s Dream Visions.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s efforts, in BD, HF, LGW, and PF, to meld two strands of dream poetry: the philosophical and amorous subspecies of the form.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273272">
    <dcterms:title><![CDATA[Love and Death in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the imagery of nature and death in TC, arguing that Criseyde is &quot;representative of a principle of life&quot; and &quot;best understood in terms of her cyclical or seasonal progression through the poem.&quot; Pandarus is associated with mutability, and Troilus, with death and the &quot;little death&quot; of sex, although he is &quot;best understood in what may be seen as an ascending spiral.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261750">
    <dcterms:title><![CDATA[Love and Death in Chaucer&#039;s &#039;The Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Composed in the context of the bubonic plague, BD encourages rejection of despair.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265191">
    <dcterms:title><![CDATA[Love and Death: The Function of the Grotesque in the Paintings of Edward Burne-Jones]]></dcterms:title>
    <dcterms:description><![CDATA[Burne-Jones&#039;s use of the grotesque was influenced by Chaucer, among others.  In KnT, Emelye unwittingly inspires destructive passion in Palamon and Arcite, creating disorder in society and leading to a &quot;grotesque denouement.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262995">
    <dcterms:title><![CDATA[Love and Degree in the &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Arveragus is a more fully developed character if we acknowledge his relatively low degree (compared with that of Dorigen).  Class status also clarifies the teller&#039;s own status and his admiration for rhetoric.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268365">
    <dcterms:title><![CDATA[Love and Disease in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the depiction of Troilus&#039;s love-sickness against &quot;new theories of contagion&quot; that resulted from the devastations of the plague. Criseyde internalizes the anti-feminist &quot;logic of disease&quot; and names herself the &quot;infective other.&quot; Troilus&#039;s &quot;love-sickness mimics the progress of a viral infection&quot; and leads--in his &quot;apotheosis&quot;--to a cure only when his body leaves the &quot;earthbound cycle of contagion.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261561">
    <dcterms:title><![CDATA[Love and Disorder: A Fifteenth-Century Definition of Love and Some Literary Antecedents]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes a lyric with the invented title of &quot;Inordinate Love Defined,&quot; which appears uniquely on the final leaf of a fifteenth-century manuscript, Copenhagen Thott 110, in the Royal Library.  Also discusses briefly a lyric fragment of TC (1.400-406).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277658">
    <dcterms:title><![CDATA[Love and Grace in Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores parallels and tensions between earthly and heavenly love in TC, investigating how the theological &quot;doctrine&quot; of grace--inflected by ideas of merit, hope, and despair--is adapted to courtly, earthly conventions in the poem. Focuses on uses of religious language, imagery, and sentiment to depict Troilus&#039;s love and Criseyde&#039;s responses.]]></dcterms:description>
</rdf:Description></rdf:RDF>