<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/261432">
    <dcterms:title><![CDATA[Lyric and Elegy in The Book of the Duchess]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes Chaucer&#039;s treatment of bereavement and its consolation, particularly in relation to the exploitation of lyric in French narratives (both dit and elegy).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272133">
    <dcterms:title><![CDATA[Lyric and Lyrical in the Works of Chaucer: The Poet in His Literary Context]]></dcterms:title>
    <dcterms:description><![CDATA[Characterizes medieval lyrics and various sub-genres by illustrative examples; then comments on several themes and topoi in Chaucer&#039;s lyrics and lyrical passages from his longer works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274879">
    <dcterms:title><![CDATA[Lyric Form and the Charge of Forgetfulness in Medieval and Early Modern Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces &quot;the creative potentials of technologies of memory in the rise of English lyric poetry,&quot; focusing on Chaucer and Thomas Wyatt, and including assessment of how &quot;innovations of lyric form are introduced&quot; in TC &quot;at moments in which memory is most compromised&quot; and when Chaucer is &quot;most unhinged&quot; from his sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276019">
    <dcterms:title><![CDATA[Lyric Interventions in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that three lyric moments in Book II of TC (Antigone&#039;s song, the lay of the nightingale, and the dream of the eagle) &quot;distil the complexity of Criseyde&#039;s <br />
inner deliberations,&quot; show &quot;how Criseyde&#039;s choice to love is inflected by the condition of women subject to male desire within an economy of war,&quot; and &quot;express the social antagonism between love and war that is the subject of the poem as a whole.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274649">
    <dcterms:title><![CDATA[Lyric Poetry from Chaucer to Shakespeare.]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies a number of specific &quot;[i]nfluences, echoes, or borrowings from Chaucer in English poetic tradition as it developed between Henry Howard, earl of Surrey, and Shakespeare,&quot; mentioning familiar instances and adding ones previously unnoticed. Remarks that Chaucer &quot;may be the single most important influence&quot; on Shakespeare&#039;s works, and identifies a particularly large number of echoes in the Elizabethan collection &quot;A Hundreth Sundrie Flowres.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274884">
    <dcterms:title><![CDATA[Lyric Tactics: Poetry, Genre, and Practice in Later Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Asserts that Chaucer&#039;s inset lyrics in TC and LGW have a &quot;tactical&quot; quality that gives them flexibility and contingency. In TC, Antigone&#039;s song, using both English practices and French and Italian sources, demonstrates &quot;a tension between negotiation and [Petrarchan] absolutism&quot; that reflects the narrative&#039;s concern with &quot;individual and communal desires.&quot; In LGW, especially Prologue F, lyrics are integrated with exemplary narrative, giving lyric an ethical role and &quot;suspending [exempla&#039;s] &quot;drive toward closure.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269374">
    <dcterms:title><![CDATA[Lyrics and Short Poems]]></dcterms:title>
    <dcterms:description><![CDATA[Holsinger explores each of Chaucer&#039;s lyrics and short poems, explicating tensions of form and theme and explaining Chaucer&#039;s &quot;cagey manipulation&quot; of metrical and lyric conventions - English, French, and Italian. Rarely an inventor, Chaucer was a lyric innovator who experimented with relationships between emotion and form.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276386">
    <dcterms:title><![CDATA[Lyrics of the Middle Ages.]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes samples of Greek, Latin, Provençal, French, Portuguese, Spanish, Italian, Welsh, Irish, Norse, Danish, Dutch, German, and Old and Middle English verse--generally in modern English translation--from the fifth to the fifteenth century. The three samples from Chaucer (ballade from LGWP, rondel from PF, and Pity) are in Middle English, with sidebar glosses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268416">
    <dcterms:title><![CDATA[M / W: A Deconstructive Reading of the Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer prompts his readers to recognize that the Wife of Bath misreads and adapts the authorities she confronts, reminding us that multiple meanings are everywhere possible. This deconstruction of meaning prompts deconstruction of the male/female dichotomy and echoes throughout WBPT, ClT, MerT, and even Ret.]]></dcterms:description>
    <dcterms:description><![CDATA[In Korean, with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269900">
    <dcterms:title><![CDATA[M(ons)ters In-Laws: Maternal Models in The Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how Chaucer&#039;s reflections on maternity expose a relationship between Christianity  and other religions in MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267580">
    <dcterms:title><![CDATA[Ma(r)king the Electronic Text : How, Why, and for Whom?]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes the strengths and weaknesses of TEI (Text Encoding Initiative) encoding for electronic texts in the humanities, advocating a middle ground between &quot;realist&quot; and &quot;anti-realist&quot; theories of what can and should be represented. Expresses concerns about the future of electronic editing, drawing examples from The Wife of Bath Prologue on CD-ROM (1996; SAC 20 [1998], no. 11) and The General Prologue on CD-ROM (2000; SAC 24 [2002], no. 41), among others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262072">
    <dcterms:title><![CDATA[Machaut and Chaucer : &#039;Ars Nova&#039; and the Art of Narrative]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucerian narrative is closely related to the compositions of Machaut--not only poetically but also musically.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261840">
    <dcterms:title><![CDATA[Machaut&#039;s &#039;Lay de Comfort&#039; and Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Machaut&#039;s &#039;Lay&#039; bears an important relation to BD.  Even though they are less praised, Machaut&#039;s lyrics were found worthy of use by Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264747">
    <dcterms:title><![CDATA[Machaut&#039;s Court of Love Narratives and Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The French narrative poems of Machaut and Froissart reveal the source of the voice in Chaucer&#039;s early poems.  Even though BD imitates the conventions of its French models, it shows how Chaucer adapted the conventions to his own use.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267167">
    <dcterms:title><![CDATA[Machaut&#039;s Legacy : The Chaucerian Inheritance Reconsidered]]></dcterms:title>
    <dcterms:description><![CDATA[The most important source for Chaucer&#039;s BD is not Machaut&#039;s Jugement dou Roy de Behaingne but his Dit de la fonteinne; for LGWP, not the French &quot;Marguerite poems&quot; but Machaut&#039;s Jugement dou Roy de Navarre. Moreover, the belief that Chaucer drifted away from French influence in his later works is now &quot;defunct&quot;; there is significant influence of Machaut on Chaucer&#039;s MerT, for example. Revised version; first published in Studies in the Literary Imagination 20 (1987): 9-22.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262839">
    <dcterms:title><![CDATA[Machaut&#039;s Legacy: The Chaucerian Inheritance Reconsidered]]></dcterms:title>
    <dcterms:description><![CDATA[The French influence on Chaucer is undervalued.  Machaut&#039;s &quot;La Fonteinne amoureuse&quot; provided the model for BD; his &quot;Judgement dou Roy de Navarre&quot; inspired LGWP; &quot;Le voir dit&quot; has a direct tie with ManT; ; &quot;Le voir dit&quot; and &quot;La Fonteinne amoureuse&quot; influenced MerT.  Some techniques considered original with Chaucer, even the narrator-persona, actually came from Machaut.]]></dcterms:description>
    <dcterms:description><![CDATA[Revised version published in R. Barton Palmer, ed. Chaucer&#039;s French Contemporaries: The Poetry/Poetics of Self and Tradition (New York: AMS Press, 1999), pp. 29-46.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275023">
    <dcterms:title><![CDATA[Machaut&#039;s Legacy: The Judgment Poetry Tradition in the Later Middle Ages and Beyond.]]></dcterms:title>
    <dcterms:description><![CDATA[Ten essays by various authors treat the impact and legacy of Guillaume de Machaut&#039;s works, especially &quot;his judgment series&quot; of poems, and the ways they influence writers from Chaucer and John Gower to Marcel Proust and Philip Roth. For four essays that pertain to Chaucer, search for Machaut&#039;s Legacy under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263354">
    <dcterms:title><![CDATA[Macrobius and Mediaeval Dream Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Backgrounds and sources for PF, HF, BD, NPT.  Argues that Macrobius was less influential in later Middle Ages than Chaucer&#039;s references to him suggests.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264500">
    <dcterms:title><![CDATA[Mad Lovers and Other Hooked Fish: Chaucer&#039;s &#039;Complaint of Mars&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Mars is placed within Christian moral interpretation when Mars refers to lovers as fish caught on a hook.  Asking why God made human love enticing, Mars inverts the &quot;hierarchy of human and divine lovers.&quot;  For him the love bait on the hook is not divine.  The two kinds of love are central also in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265977">
    <dcterms:title><![CDATA[Madame Eglentyne and the Bankside Brothels]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the name Eglentyne (&quot;rose&quot;) connoted sexual dalliance to Chaucer&#039;s audience.  Fourteenth-century property records indicate affiliations between property owned by the priory at Stratford-at-Bow and the Bankside brothel, the Rose.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265697">
    <dcterms:title><![CDATA[Madame Eglentyne in Her Day and Ours: Anti-Semitism in &#039;The Prioress&#039;s Tale&#039; and a Modern Parallel]]></dcterms:title>
    <dcterms:description><![CDATA[The Prioress&#039;s combination of pious sentiment, moral blindness, and indifference to official church doctrine can be paralleled in a 1985 attempt, in an Austrian village, to defend and preserve an anti-Semitic legend about the murder of a three-year-old and the local cult that grow up around it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261726">
    <dcterms:title><![CDATA[Madame Eglentyne, Geoffrey Chaucer and the Problem of Medieval Anti-Semitism]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews anti-Semitism in PrT from a historical point of view. Defines anti-Semitism and its typical features: the death of the clergeon mirrors that of Christ; the Jews are linked with the devil; and they engage in usury.  PrT is definitely anti-Semitic, and Chaucer knew what he was doing in writing it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268325">
    <dcterms:title><![CDATA[Madame Eglentyne: The Telling of the Beads]]></dcterms:title>
    <dcterms:description><![CDATA[The description of the Prioress&#039;s rosary exemplifies Chaucer&#039;s word play and his literary engagement with other writers, particularly Jean de Meun and Ovid. Fleming compares the Prioress&#039;s rosary with rosaries in medieval art and assesses the significance of her name, Madame Eglentyne, in romance and sacred romance alike.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264887">
    <dcterms:title><![CDATA[Madame Eglentyne&#039;s Saint Loy]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s characterization of the Prioress mirrors the struggle of &quot;a country bumpkin trying to upgrade herself.&quot;  The St. Loy of her oath might best be identified with St. Louis IX, King of France.  The Bell edition of 1890 cites St. Loy as the spelling for St. Louis in the 1543 edition of the French translation of &quot;Legenda Aurea.&quot;  St. Louis was noted for his simple humanity.  The Prioress was attempting to refine and embellish her own simple humanity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263513">
    <dcterms:title><![CDATA[Madness, Mayhem, and the Search for Gold: William Faulkner&#039;s Use of &#039;The Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s influence on Faulkner is evident in the similarities between PardT and &quot;Lizards in Jamshyd&#039;s Courtyard.&quot;  Both stories concern three treasure seekers who make an ironic vow of loyalty and are guided in motion by a figure who represents Greed Incarnate--but, unlike the Pardoner, Flem Snopes does not receive poetic justice.]]></dcterms:description>
</rdf:Description></rdf:RDF>
