<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/273524">
    <dcterms:title><![CDATA[Medicine, Religion and Gender in Medieval Culture.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates religious and medical medieval discourses in the Middle Ages. For an essay that pertains to Chaucer search for Medicine, Religion and Gender in Medieval Culture under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275550">
    <dcterms:title><![CDATA[Medieval Affect, Feeling, and Emotion.]]></dcterms:title>
    <dcterms:description><![CDATA[Collection of essays charting new investigations of intersectionality of affects, feelings, and emotions in non-religious texts. Authors range from Chaucer to Gavin Douglas, and essays explore practices of witness to the &quot;adoration of objects,&quot; and the co-existence of emotion and affect in late medieval representations of feeling. For essays pertaining to Chaucer, search for Medieval Affect, Feeling, and Emotion under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273488">
    <dcterms:title><![CDATA[Medieval Afterlives in Contemporary Culture.]]></dcterms:title>
    <dcterms:description><![CDATA[Collection of essays covers a comprehensive range of medieval-related media, including literature, film, TV, comic-book adaptations, electronic media, performances, and commercial merchandise and tourism. For three essays that pertains to Chaucer, search for Medieval Afterlives in Contemporary Culture under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274028">
    <dcterms:title><![CDATA[Medieval Afterlives in Popular Culture.]]></dcterms:title>
    <dcterms:description><![CDATA[Collection of essays exploring how medievalisms and medieval elements are reclaimed and reconceptualized in contemporary print and digital texts, TV, and film. For an essay pertaining to Chaucer, search for Medieval Afterlives in Popular Culture under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262668">
    <dcterms:title><![CDATA[Medieval Allegories of Jesus&#039; Parables]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the forty-one parables of Jesus in liturgy, allegory, exegesis, and poetry.  Includes bibliography and index of concepts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276287">
    <dcterms:title><![CDATA[Medieval Analogues of &quot;Paradise Lost.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Concentrates on Old English poems and Middle English plays that are analogous to Milton&#039;s &quot;Paradise Lost,&quot; but includes in an appendix &quot;[s]some relationships with The Canterbury Tales and . . .  description of seven Middle English poetic analogues.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273042">
    <dcterms:title><![CDATA[Medieval and Early Modern Authorship]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews notions and constructions of authorship in medieval and early modern texts, including works by Chaucer, Gower, Shakespeare, Jonson, Milton, and Marvell.  For two essays that pertain to Chaucer, search for Medieval and Early Modern Authorship under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275685">
    <dcterms:title><![CDATA[Medieval and Early Modern Murder: Legal, Literary and Historical Contexts.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes legal, hermeneutic, and social ramifications of murder and murderers in the Middle Ages. Includes Tracy&#039;s own essay entitled &quot;&#039;Mordre wol out&#039;: Murder and Justice in Chaucer,&quot; which focuses on Chaucer&#039;s treatment of murder in CT, particularly Chaunticleer&#039;s dreams of murder in NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265114">
    <dcterms:title><![CDATA[Medieval and Modern in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer elaborately constructs the pagan love story as an epic, a romance, and a philosophical demonstration, but simultaneously undercuts all three frames of reference; however, the Christian epilogue decrying earthly existence is modified by the dominant mode of realism that celebrates the intrinsic value of human life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263645">
    <dcterms:title><![CDATA[Medieval and Pseudo-Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Essays by various hands.  For four essays that pertain to Chaucer, search for Medieval and Pseudo-Medieval Literature under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271719">
    <dcterms:title><![CDATA[Medieval Anticipations of Dryden&#039;s Stylistic Revolution &#039;The Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Generalizes that John Dryden&#039;s compositional technique (in which abstractions precede concrete details) has precedent in the medieval &quot;rhetorical poetic.&quot; Then shows how the details of KnT are &quot;the vehicle for the presentation of certain Boethian concepts of the nature of Fortune and Providence,&quot; and thereby evidence that Dryden&#039;s technique is part of a &quot;time-honored tradition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262675">
    <dcterms:title><![CDATA[Medieval Antifeminism and the Women in Chaucer&#039;s &#039;Fabliaux&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the women in Chaucer&#039;s fabliaux in connection with the antifeminist tradition.  Hamaguchi argues that Chaucer&#039;s view of women was complex, partly affected by the antifeminist tradition yet partly sympathetic to the feminist position.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Keiko Hamaguchi, Chaucer and Women (Tokyo: Eihosha, 2005).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274882">
    <dcterms:title><![CDATA[Medieval Authorship at Reason&#039;s End: The Roman de la Rose&#039;s Legacy of Misrule]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;Roman de la Rose&quot; &quot;initiates a literary tradition that understands reason to be in tension with and even antithetical to imaginative writing,&quot; examining in this light works by Chaucer (TC), Gower, Lydgate, and Hoccleve, exploring in them a &quot;writerly art based in misrule.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271891">
    <dcterms:title><![CDATA[Medieval Autographies: The &quot;I&quot; of the Text]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests we cannot necessarily assume that, in medieval texts, every instance of an &quot;I&quot; must represent a fictionalized narrator who has a persona that can be analyzed and ultimately held responsible for various details of, or problems within, the text. Refers to Chaucer throughout, particularly in Chapter 3, &quot;Chaucerian Prologues and the Wife of Bath.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264246">
    <dcterms:title><![CDATA[Medieval Beasts and Modern Cages: The Making of Meaning in Fables and Bestiaries]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval fable cannot be read as though each animal or figure held a fixed allegorical meaning.  NPT, for instance, could signify as many meanings as subsequent readers have postulated.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264238">
    <dcterms:title><![CDATA[Medieval Body Language: A Study of Use of Gesture in Chaucer&#039;s Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Treats Chaucer&#039;s use of and experimentation with conventional gesture as modified by genetic considerations in CT, TC, PF,HF, Anel, LGW, BD, Rom, and minor poems.  Includes an appendix of relevant passages.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267440">
    <dcterms:title><![CDATA[Medieval Body-Space on/in a Chest]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the chest--a significant piece of furniture as both a container and a bench in the Middle Ages--as an image in CT, discussing &quot;possession&quot; and the body-space formed on/in the chest by the act of sitting on it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267722">
    <dcterms:title><![CDATA[Medieval Children]]></dcterms:title>
    <dcterms:description><![CDATA[Orme surveys medieval childhood, from the seventh to the mid-sixteenth century, with emphasis on England. Topics include birth and family life, danger and death, children&#039;s literature, learning to read and reading for pleasure, play, children and the church, and growing up into law, labor, and sexuality. Passim references to children in medieval English literature, including Chaucer&#039;s works, especially CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270183">
    <dcterms:title><![CDATA[Medieval Children Witness Their Mothers&#039; Indiscretions: The Maid Child in Chaucer&#039;s Shipman&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Reading ShT in the context of fabliaux in which children witness their mothers&#039; infidelity, Beidler recalls that the Tale was originally intended for the Wife of Bath. He argues that the placement of a prepubescent girl on the scene of another wife&#039;s &quot;illicit&quot; extramarital activities may be understood as a case of the wife&#039;s fulfilling a responsibility to teach her daughter by example &quot;the ways a woman can get what she needs in the world.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262640">
    <dcterms:title><![CDATA[Medieval Christian Literary Imagery: A Guide to Interpretation]]></dcterms:title>
    <dcterms:description><![CDATA[Bibliography including the following divisions:  biblical exegesis, liturgy, hymns, sermons, visual arts, mythography,commentaries on major authors, and miscellaneous.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270760">
    <dcterms:title><![CDATA[Medieval Classical Romances: The Perils of Inheritance]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the treatment of classical material in medieval romances (arranged by topic), exploring where and how the romance authors engage the status and validity of their pre-Christian material. Comments on KnT and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274655">
    <dcterms:title><![CDATA[Medieval Comic Relief: Cannibal Cow, Duck&#039;s Deck and Carry on Joan of Arc.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats three examples of eighteenth-century comic medievalism as the &quot;male adolescence of the Enlightenment&quot;: Henry Fielding&#039;s presentation of Arthurian material as &quot;farcically lascivious discourse&quot; in &quot;Tom Thumb,&quot; the &quot;pre-modern prurience&quot; of Voltaire&#039;s &quot;La Pucelle d&#039;Orleans,&quot; and Alexander Pope&#039;s sexualized adaptations of WBP and MerT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266400">
    <dcterms:title><![CDATA[Medieval Comic Tales]]></dcterms:title>
    <dcterms:description><![CDATA[An expanded revision of the 1973 edition, with one additional tale translated from French, three from Spanish, five from Middle English, three from German, six from Dutch (with three deleted), and one from Latin, for a total of eighty tales, songs, and anecdotes.  The introduction appears for the first time, with frequent references to Chaucer and his fabliaux and other tales (not included).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261371">
    <dcterms:title><![CDATA[Medieval Communities in the General Prologue to the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Individual GP pilgrims represent distinct groups or organizations within medieval society, epitomizing social diversity--yet the community functions as a cohesive whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262387">
    <dcterms:title><![CDATA[Medieval Concepts of Literary Closure: Theory and Practice]]></dcterms:title>
    <dcterms:description><![CDATA[First, McGerr reviews modern theories on closure and examines medieval theory on literary design and closure in Geoffrey of Vinsauf, John of Garland, Ludolf of Hildesheim, Brunetto Latini, Dante, and others to show that &quot;medieval concepts of closure were both more complex and closer to modern concepts than is usually assumed.&quot;  The medieval concept of closure included &quot;the sense of recapitulation of the whole, framed to have the greatest impact on the audience.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Second, McGerr examines &quot;the relationship of theory and practice&quot; in medieval works, including those of Bocaccio, Machaut, and Jean de Meun and Chaucer&#039;s BD, PF, KnT, WBT, FranT, TC, HF, and CT--especially the playfulness in TC, which &quot;reflects a self-consciousness about language and fiction that modern closure theory attributes to modern literature alone.&quot;  Medieval writers and readers appreciated &quot;openness&quot; or &quot;suspension of closure.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>