<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/263865">
    <dcterms:title><![CDATA[Marital Love in Two Early Chinese Narrative Ballads with Analogues from Chaucer&#039;s &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the themes of love in marriage in CT with those in &quot;Mo-shang&quot; and &quot;K&#039;ung-ch&#039;ueh tung-nan.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266963">
    <dcterms:title><![CDATA[Markers of Transition : Laughter in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Although Chaucer does not divert from the pattern of Troilus&#039;s tragic fall from the top of the wheel of fortune, he employs ironic twists and ambiguities that diffuse the rigidity of the tale. The transitions in TC subvert attention from rigid establishments (such as social status or philosophy) and turn the focus toward stages &quot;in between.&quot; Such stages in TC are marked by smiles, laughter, and merriment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273940">
    <dcterms:title><![CDATA[Marketing Chaucer: &quot;Mad Men&quot; and the Wife of Bath.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;ghostly presence&quot; of WBPT in the first three episodes of the television show &quot;Mad Men,&quot; updating and remediating the &quot;parody of Western misogynist tropes&quot; in WBP, refashioning from WBT the question of what women want, and reframing Chaucer&#039;s fantasy of transformation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269530">
    <dcterms:title><![CDATA[Marking Time in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Dubs considers medieval notions of simultaneity; describes Boethius&#039;s concept of eternity; explores Chaucer&#039;s uses of the zodiac in CT (FranT, MLT, GP, NPT) and Astr; and considers spring as the natural and spiritual season of renewal connected with the pilgrimage of life in GP, ParsP, and Truth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263869">
    <dcterms:title><![CDATA[Marlowe&#039;s &#039;Hero and Leander&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces parallels between Marlowe&#039;s &#039;Hero and Leander&#039; and TC 3.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276370">
    <dcterms:title><![CDATA[Marlowe&#039;s Soldiers: Rhetorics of Masculinity in the Age of the Armada.]]></dcterms:title>
    <dcterms:description><![CDATA[In a section exploring &quot;epic masculinity&quot; in the age of Marlowe, suggests that Chaucer&#039;s depiction of Aeneas in LGW and HF anticipates humanist &quot;rethinking&quot; about the hero, that Chaucer &quot;greatly influenced&quot; Marlowe&#039;s depiction of him in &quot;Dido, Queen of Carthage,&quot; and that Marlowe &quot;extends Chaucer&#039;s reversal of the usual conclusion that passion corrodes duty.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271263">
    <dcterms:title><![CDATA[Marriage à la Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Dramatic adaptation for the stage of portions of GP, WBPT, MilPT, and RvPT, in a single plot, with Author&#039;s Notes and stage directions. The play was &quot;first produced by Theatre Antigonish, Antigonish, Nova Scotia in March 1982.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266507">
    <dcterms:title><![CDATA[Marriage and Conversion in Late Medieval Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Examines MLT as one of several historical and literary accounts of princesses who marry husbands of a different religion and either convert themselves or persuade their husbands to convert.  In addition to Constance, Goodman considers accounts of Clovis and Clothilde, Ethelbert and Bertha, and Floripas, the Saracen princess, from Bagnyon&#039;s &quot;Histoire de Charlemagne&quot; (1470) and its Castillian translation (ca. 1500).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265102">
    <dcterms:title><![CDATA[Marriage and the &#039;Second Nun&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrary to Donald Howard, who found in SNT the church&#039;s &quot;highest ideal&quot; of marriage and Chaucer&#039;s final answer to the Marriage Group, the tale actually denies the basis of true wedlock as subordinating the wife&#039;s personal concern for her husband to selfless dedication to spiritual &quot;bisyness.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265148">
    <dcterms:title><![CDATA[Marriage and the Love Vision: The Concept of Marriage in Three Medieval Love Visions as Relating to Courtship and Marriage Conventions of the Period]]></dcterms:title>
    <dcterms:description><![CDATA[PF, &quot;Temple of Glas,&quot; and &quot;Kingis Quair&quot; deal not with courtly love but with marriage.  The idea underlying all three works is that one should be free to marry whom one loves.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262462">
    <dcterms:title><![CDATA[Marriage and the Question of Allegory in the &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The lack of a defined perspective from which to judge exposes a profound ambivalence in the Merchant, an ambivalence that manifests itself in a series of confusing and disconcerting shifts in narrative viewpoint, suggesting a narrator who is quite uncertain about where he stands.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266216">
    <dcterms:title><![CDATA[Marriage as Exchange, from Chaucer to Defoe]]></dcterms:title>
    <dcterms:description><![CDATA[Aware that their husbands (as chosen by their families or communities) will determine the nature of their lives, women have sought to choose their own husbands, a daring assumption of sovereignty in a patriarchal society.  The Wife of Bath, Shakespeare&#039;s Shrew, and Moll Flanders are among the many women characters treated.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267083">
    <dcterms:title><![CDATA[Marriage Ceremonies and Property in The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer evinces awareness of marriage law, in particular the necessity of a church ceremony to secure property rights. Wives with a legally unassailable right to property (May in MerT, the Wife of Bath, Alisoun in MilT, Cecilie in SNT) are in a much stronger marital position than Griselde, whose husband engineers a contract marriage in ClT. Two exceptions are Custance, since the pagans in MLT are too far from Rome to fear consequences, and Dorigen, whose wedding details are omitted because, in the exemplary world of FranT, she needs no legal protection.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267789">
    <dcterms:title><![CDATA[Marriage Contracts from Chaucer to the Renaissance Stage]]></dcterms:title>
    <dcterms:description><![CDATA[Four chapters explore the influence of contemporary marriage law on Chaucer&#039;s imagination, and three investigate similar influences on religious and Renaissance drama. Chaucer did not merely reflect his society&#039;s concerns with marriage and its formulas; he capitalized on his reader&#039;s awareness of the formulas&#039; consequences. In CT, delineation of marriage can (1) expose characters&#039; social status and establish reader expectations; (2) reconceptualize nonmarital sexual relations by using the language of the familiar marital contract; and (3) encourage a more sympathetic view of widows by examining the straits to which marital contracts reduced them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268785">
    <dcterms:title><![CDATA[Marriage in Medieval England : Law, Literature, and Practice]]></dcterms:title>
    <dcterms:description><![CDATA[McCarthy explores how marriage is represented in medieval English literary and legal texts and the &quot;relationship of these representations to actual practice.&quot; Subjects range from Beowulf and Old English laws to late medieval ecclesiastical statutes and the works of Chaucer and his contemporaries, including such topics as marital consent, property rights, love and sex, the family, and more. McCarthy comments on LGW and portions of CT, especially KnT, WBP, MerT, FranT, and ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272082">
    <dcterms:title><![CDATA[Marriage in Old and Middle English Saints&#039; Legends]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys two medieval attitudes toward marriage (pro-matrimonial [Aquinas] and anti-matrimonial [Jerome] and their depictions in various tales of virgin martyrs, analyzing SNT most extensively.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261692">
    <dcterms:title><![CDATA[Marriage Sermons, Polemical Sermons, and &#039;The Wife of Bath&#039;s Prologue&#039;: A Generic Excursus]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates the relations between WBP and sermons on the marriage at Cana, particularly those by Jacobus de Voragine. The Wife neither parodies traditional antifeminist material nor preaches a &quot;sermon joyeux.&quot;  Using details and approaches reminiscent of &quot;polemical sermons,&quot; including Lollard sermons, she reflects the &quot;multiplicity of contemporary attitudes.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268462">
    <dcterms:title><![CDATA[Marriage, Mutual Consent, and the Affirmation of the Female Subject in the Knight&#039;s Tale, the Wife of Bath&#039;s Tale, and the Franklin&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Robertson considers KnT, WBT, and FranT in the light of contemporary marital law, Christian doctrine, and the question of mutual consent to marriage. Chaucer&#039;s profound interest in the legitimacy of the female subject is a subset of his larger interest in the nature of free will, choice, and autonomy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269207">
    <dcterms:title><![CDATA[Marriage, Sex, and Civic Culture in Late Medieval London]]></dcterms:title>
    <dcterms:description><![CDATA[An introduction, seven chapters, and a conclusion study marriage in London in the second half of the fifteenth century. The &quot;fundamental argument is that bonds of marriage and sex were . . . intimate, deeply personal ties and matters of public concern, subject to intervention by everyone from a woman&#039;s or man&#039;s family, friends, and employers to the mayor of London himself.&quot; Chapter 5 mentions briefly that Walter weds Griselda in ClT by ambiguous words with only one witness in a suspect bedchamber contract. Chapter 6 mentions that, despite the depiction of the summoner in FrT, &quot;there is little evidence of . . . church-police figures&quot; in fifteenth-century London.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269230">
    <dcterms:title><![CDATA[Marriage, Sexuality and the Family]]></dcterms:title>
    <dcterms:description><![CDATA[Cartlidge examines the range of attitudes toward marriage, sexuality, and the family in CT - including questions of marriage as an ordering principle, sexuality as a threat to marriage, and sexuality as a form of aggression outside of marriage. Also assesses notions of extended family, maternal grief, and paternal affection. Considers MilT, RvT, MLT, WBPT, ClT, MerT, Sq-FranL, FranT, PhyT, PrT, and ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264149">
    <dcterms:title><![CDATA[Married Love and Incarnational Imagery: Bernard of Clairvaux&#039;s &#039;Sermones Super Cantica Canticorum&#039; Within Medieval Spirituality and as a Model for Love Allegory in Chaucer&#039;s &#039;Cant]]></dcterms:title>
    <dcterms:description><![CDATA[Certain twelfth-century mystics, especially Bernard of Clairvaux, interpreted the Song of Songs as figuring the love of God and man not only through heterosexual love but specifically as an ideal of marriage.  In Chaucer&#039;s works both the concept of marriage and the imagery surrounding it relate to this tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267361">
    <dcterms:title><![CDATA[Married Women in Fourteenth-Century English Society. Evidence from the Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Compares views about married women reflected in The Wife of Bath&#039;s Prologue and Tale with late-fourteenth-century social reality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262176">
    <dcterms:title><![CDATA[Mars in Taurus at the Nativity of the Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[The Wife&#039;s astrological sign of Taurus suggests a tendency to prostitution.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262562">
    <dcterms:title><![CDATA[Mars the Exegete in Chaucer&#039;s &#039;Complaint of Mars&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Chaucer&#039;s treatment of the Mars and Venus fables with Ovid&#039;s and with other medieval versions to demonstrate that Chaucer created Mars as a misguided commentator on his own story.  Chaucer&#039;s audience, familiar with Jean de Meun&#039;s &quot;Roman de la Rose&quot; and other sources, would have judged that Mars willfully misreads his situation.  Nowhere else in Chaucer are the dangers of misapplied exegesis so clearly and painfully exposed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270475">
    <dcterms:title><![CDATA[Martha Moulsworth and Chaucer&#039;s Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Observes points of similarity and difference between WBP and Martha Moulsworth&#039;s poetic autobiography, &quot;Memorandum&quot; (1632). The Wife serves as Moulsworth&#039;s &quot;stylistic and rhetorical precursor.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>