<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/264547">
    <dcterms:title><![CDATA[&#039;What Man Arrow?&#039; Harry Bailly and the &#039;Elvyssh&#039; Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[The tension between Harry Bailly&#039;s governance over the pilgrims and the tolerance and permissiveness of Chaucer&#039;s fictional narrative voice is implied in three link passages: between KnT and MilT, in the Prologue to MLT, and in the Prologue to ParsT.  The &quot;knitting up&quot; of ParsT and Ret brings under Divine governance the varied human experience represented by the pilgrims&#039; tales, as well as the limited perceptions of the Host, Chaucer the Pilgrim, and Chaucer the author.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266170">
    <dcterms:title><![CDATA[&#039;What Man Artow?&#039;: The Narrator as Writer and Pilgrim]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Chaucer&#039;s narrative persona in CT in two manifestations: as writer and as pilgrim.  Writers were necessarily reciters in Chaucer&#039;s day, with opportunities in government, in religion, and as itinerant performers.  Pilgrims encountered discomfort and danger, although Chaucer&#039;s pilgrims seemed prepared for both.  Wilson provides details of social history for both &quot;avocations&quot; of Chaucer&#039;s pilgrim persona.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269856">
    <dcterms:title><![CDATA[&#039;What say you to a piece of beef and mustard?&#039; The Evolution of Public Dining in Medieval and Tudor London]]></dcterms:title>
    <dcterms:description><![CDATA[Carlin documents the development of public dining in London and Westminster, drawing evidence  from, among other sources, GP, &quot;Piers Plowman,&quot; and the prologue to Lydgate&#039;s &quot;The Siege of Thebes.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270075">
    <dcterms:title><![CDATA[&#039;What sholde I make a lenger tale of this?&#039; Linguistic and Stylistic Analysis of Rhetorical Questions in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Maíz Arévalo describes the functions of rhetorical questions and assesses their uses in CT, where the device is linked to &quot;heigh style&quot; (Harry Bailey&#039;s term) and specific genres. Rhetorical questions are used to express and elicit emotion, to suspend action, and to reinforce climactic moments.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270799">
    <dcterms:title><![CDATA[&#039;What Things You Make of Us!&#039;: Amazons and Kinsmen in Chaucer and Shakespeare]]></dcterms:title>
    <dcterms:description><![CDATA[Explicitly influenced by KnT, Shakespeare&#039;s &quot;Two Noble Kinsmen&quot; adapts Chaucer&#039;s humor and creates a dark vision of the intersection of consumerism and sexuality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269552">
    <dcterms:title><![CDATA[&#039;What with his wysdom and his chivalrie&#039;: Political Theseus in Chaucer&#039;s Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Theseus as political hero in light of the literary history of KnT. The character combines wisdom and chivalry and reflects the Tale&#039;s narrator, including his attitude toward women.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270115">
    <dcterms:title><![CDATA[&#039;Where Are All the Lesbians in Chaucer?&#039;: Lack, Opportunity and Female Homoeroticism in Medieval Studies Today]]></dcterms:title>
    <dcterms:description><![CDATA[Sauer describes the &quot;inadequacy of lesbian criticism in today&#039;s Medieval Literary Studies&quot; and suggests some opportunities for developing such studies, including opportunities in Chaucer studies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263124">
    <dcterms:title><![CDATA[&#039;Whereas a Man May Have Noon Audience, Noght Helpeth It to Tellen His Sentence&#039;: Rhetorical Process in Chaucer&#039;s Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Drawing on sources in rhetoric and preaching, Chaucer saw rhetoric &quot;not merely as a collection of stylistic figures, but as a process defined by the interaction between a speaker, his words,...and the audience.&quot;  He made the audience &quot;active participants in the rhetorical process,&quot; simultaneously engaged and detached.  Compares Chaucer&#039;s manipulation of audience in BD, HF, and PF to Dante&#039;s in the &quot;Commedia&quot; and to de Lorris and de Meun&#039;s in &quot;Roman de la Rose.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262147">
    <dcterms:title><![CDATA[&#039;Which Was the Mooste Fre&#039; : Chaucer&#039;s Realistic Humour and Insight into Human Nature, as Shown in &#039;The Frankeleyns Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the tradition and analogues of the &quot;demande d&#039;amour&quot; of FranT, compares Chaucer&#039;s use, and concludes that the young lover Aurelius has the greatest claim to the honor of being &quot;mooste fre,&quot; although the question is exceedingly complex.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267541">
    <dcterms:title><![CDATA[&#039;Whilom, As Olde Stories Tellen Us&#039; : The Discourse Marker Whilom in Middle English]]></dcterms:title>
    <dcterms:description><![CDATA[Documents the development of whilom from its origins as an Old English adverb, to a discourse marker associated with orality, to an adjective. Although this development does not challenge the &quot;unidirectionality hypothesis of grammaticalization,&quot; it indicates that grammaticalization is sometimes reversible. Draws examples from Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263821">
    <dcterms:title><![CDATA[&#039;White by Black&#039;: Chaucer&#039;s &#039;Effect Contraire&#039; in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, a vision of love and death, Chaucer uses black and white to portray Criseyde as ambiguous:  she shares her whiteness with Venus but is linked with death and its symbolic blackness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261785">
    <dcterms:title><![CDATA[&#039;Who Made This Song?&#039;: The Engendering of Lyric Counterplots in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In contrast to the &#039;Filostrato,&#039; TC gives lyrical expression to both male and female speakers.  Antigone&#039;s song is central to the female lyrical discourse in TC, establishing a &quot;poetics of presence&quot; that culminates in the poem&#039;s closing concern with the Virgin Mary.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263984">
    <dcterms:title><![CDATA[&#039;Who peyntede the leon, tel me who?&#039;: Rhetorical and Didactic Roles Played by an Aesopic Fable in the Wife of Bath&#039;s Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[The Wife of Bath&#039;s allusion to the fable of &quot;A Lion and a Man&quot; indicates the &quot;sentence&quot; unifying her Prologue into cogent satire and emphasizes the aim of her rhetorical devices.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263439">
    <dcterms:title><![CDATA[&#039;Whoso Shal Telle a Tale&#039;--Narrative Voices and Personae in Chaucer&#039;s &#039;Canterbury Tales&#039; and &#039;Sir Gawain and the Green Knight&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Before the frame of CT establishes the brief &quot;authenticating level,&quot; the narrator works in GP to establish that his report is an exact chronicle and that he is reliable.  His veracity influences views of the Parson and the Pardoner as preachers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262965">
    <dcterms:title><![CDATA[&#039;Why Artow Angry&#039;: The Malice of Chaucer&#039;s Reeve]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the relationship of the Reeve to the Miller.  Comparison of RvT with Boccaccio&#039;s &quot;Decameron&quot; and other analogues, including the status and character of their narrators, reveals the Reeve&#039;s essential meanness:  his identification with the opportunism of the clerks, his vengeful spirit, and his disregard for human integrity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270859">
    <dcterms:title><![CDATA[&#039;Why sholde I sowen draf out of my fest?&#039;: Chaucer and the False Prophet Motif]]></dcterms:title>
    <dcterms:description><![CDATA[Ambiguous depictions of the Parson and Pardoner reflect contemporary debate regarding false prophets. The Pardoner&#039;s negligence, hypocrisy, and language suggest heresy, but he is not accused. The Parson is orthodox, but in his rejection of oaths, glosses, and fables, he  seems a Lollard. The Parson&#039;s unwillingness to expound the Ten Commandments also suggests a fear of heresy charges, such as those leveled by the Shipman and the Host.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266560">
    <dcterms:title><![CDATA[&#039;Winkers&#039; and &#039;Janglers&#039;: Teller/Listener/Reader Response in the &#039;Monk&#039;s Tale,&#039; the Link, and the &#039;Nun&#039;s Priest&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[As a triad, MkT, Mk-NPL, and NPT present such a variety of motifs, themes, and nuances that one must be mindful of their multiplicity and not reduce their reading to a &quot;hevy&quot; tragedy or a performance of &quot;sentence&quot; alone, thus falling prey to the warning in NPT:  one must neither close one&#039;s eyes when they should be open nor open one&#039;s mouth when it should be shut.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265565">
    <dcterms:title><![CDATA[&#039;With a Worde, of the Mayden Spoke&#039;: Medieval Marian Poetics]]></dcterms:title>
    <dcterms:description><![CDATA[As bearer of the Word, teacher, muse, and pilgrims&#039; guide, Mary provides a feminine model of poetics for Dante, Chaucer, and Lydgate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269551">
    <dcterms:title><![CDATA[&#039;With many a floryn he the hewes boghte&#039;: Ekphrasis and Symbolic Violence in the Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer employs ekphrasis (&quot;verbal representation of a visual representation&quot;) in the temples in KnT to comment on the social contexts and cultural production of art. The paintings and sculptures aesthetically justify Theseus&#039;s own authority, but their negativity indicates a power grounded in violence. The phrase &quot;many a floryn&quot; calls attention to the patron&#039;s ability to afford expensive pigment and to the artist&#039;s complicity in glorifying that wealth and concomitant power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267170">
    <dcterms:title><![CDATA[&#039;Withdrawe Your Hande&#039; : the Lyrics of The Garland of Laurel from Manuscript to Print]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the Garland with HF and, more tentatively, with LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267799">
    <dcterms:title><![CDATA[&#039;Withouten Oother Compaignye in Youthe&#039; : Verbal and Moral Ambiguity in the General Prologue Portrait of the Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Descriptions of the Wife of Bath in GP and in WBP are consciously ambiguous, a means of reminding us to suspend moral judgment because language is inherently ambiguous. Through glosses and textual choices, modern editions oversimplify the Wife by disambiguating her.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270870">
    <dcterms:title><![CDATA[&#039;Withyn a temple ymad of glas&#039;: Glazing, Glossing, and Patronage in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In HF, Chaucer&#039;s depictions of Venus&#039;s temple, the desert surrounding it, and the foundation of Fame&#039;s palace offer a vision of vernacular poetry that resembles glass. Like glass, such poetry is produced by transformation and translation of fragmentary materials; like stained glass windows, it employs the strategies of narrative &quot;amplificatio&quot; while serving both to gloss and to memorialize.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263617">
    <dcterms:title><![CDATA[&#039;Womanly Noblesse&#039; and &#039;To Rosemounde&#039;: Point and Counterpoint of Chaucerian Love Lyrics]]></dcterms:title>
    <dcterms:description><![CDATA[In Wom Nob, Chaucer uses traditional &quot;topoi&quot; and rhetorical and syntactic structure in French style; Ros is a playful parody of these conventions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265364">
    <dcterms:title><![CDATA[&#039;Women Talking about the Things of God&#039;: A Late Medieval Sub-culture]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts Julian of Norwich&#039;s &quot;Revelation of Love&quot; as an &quot;insider&#039;s&quot; representation of feminine literary subculture with Chaucer&#039;s depictions in PrT and SNT and with materials in the Vernon manuscript.  Even Chaucer could not achieve the &quot;inwardness&quot; evident in Julian.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265895">
    <dcterms:title><![CDATA[&#039;Wommen ... Folwen Alle the Favour of Fortune&#039;: A Semiotic Reading of Chaucer&#039;s &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Emily&#039;s moments of speech and silence in KnT to argue that, at the end of the narrative, she is &quot;the perfect example of the silent signifier,&quot; lacking any personal meaning beyond what is inscribed by the prevailing courtly attitudes.]]></dcterms:description>
</rdf:Description></rdf:RDF>