<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/264272">
    <dcterms:title><![CDATA[Medieval Tragedy and the Genre of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Fourteenth-century practice recognized at least three categories of tragic narrative:  &quot;de casibus&quot; tragedy, the Ovidian tale of the deserted heroine, and the tale of ill-fated lovers.  In TC, Chaucer combined the first and last of these in a new type, &quot;romance tragedy,&quot; which integrated the rise-and-fall structure of objective events with the subjective movements from joy to sorrow, thereby giving the tragic fall a new psychological significance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266153">
    <dcterms:title><![CDATA[Medieval Venuses and Cupids: Sexuality, Hermeneutics, and English Prose]]></dcterms:title>
    <dcterms:description><![CDATA[Mythographic tradition provided Chaucer and his contemporaries a wide variety of significations for the figures of Cupid and Venus.  Tinkle surveys this variety from antiquity forward, showing that vernacular representations of Cupid and Venus derived complex meanings from such mythographic traditions as moralization, medicine, philosophy, astrology, and iconography.]]></dcterms:description>
    <dcterms:description><![CDATA[Depictions of Cupid and Venus by Chaucer, Gower, Lydgate, James I, Boccaccio, and Christine de Pizan (among others) reflect medieval constructions of sexuality.  Chaucer &quot;shuns Cupid&#039;s deceits in favor of Venus&#039;s patronage,&quot; abandoning French models and constructing a less class-based, more &quot;natural&quot; order that set the English standard.  Discussed at length are KnT, WBT, ParsT, HF, PF, and LGWP.  Some attention is given to SqT and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274800">
    <dcterms:title><![CDATA[Medieval Vernacular Versions of Ancient Comedy: Geoffrey Chaucer, Eustache Deschamps, Vitalis of Blois and Plautus&#039; &quot;Amphitryon.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the performative nature of Deschamps&#039;s &quot;relatively faithful French translation,&quot; &quot;Geta et Amphitrion,&quot; and proposes an occasion when it might have been performed. Contrasts Deschamps&#039;s treatment of Plautus&#039;s Latin original with those of other writers, including Chaucer, who &quot;assimilated and mixed motifs from Latin comedies without acknowledgment&quot; in CT. Exemplifies Chaucer&#039;s practice of combining motifs by discussing the pear-tree scene of MerT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265294">
    <dcterms:title><![CDATA[Medieval Visual Arts and the Barred Window in Chaucer&#039;s &#039;The Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the prison window in KnT &quot;alludes to certain medieval paintings that reveal the meaning of the scene&quot;; also discusses symbolism and allegory in KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274699">
    <dcterms:title><![CDATA[Medieval Women and Their Objects.]]></dcterms:title>
    <dcterms:description><![CDATA[Collection of essays that represents multifaceted views of gender and material culture in late medieval France and England. For seven essays that pertain to Chaucer search for Medieval Women and Their Objects under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263429">
    <dcterms:title><![CDATA[Medieval Women Writers]]></dcterms:title>
    <dcterms:description><![CDATA[An anthology of women writers from the ninth through the fifteenth centuries, edited and translated by various hands,with biographical and critical studies; includes writings of Dhouda, Hrotsvita, Marie de France, Heloise, Hildegard of Bingen, Castelloza, Mechthild of Magdeburg, Hadewijch, Marguerite Porete, Saint Bridget, Saint Catherine of Siena, Julian of Norwich, Margery Kempe, Florencia Pinat, and Christine de Pizan.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265822">
    <dcterms:title><![CDATA[Medieval Women: A Social History of Women in England, 450-1500]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the legal, literary, and social status of women in medieval England, concentrating on the twelfth century and later.]]></dcterms:description>
    <dcterms:description><![CDATA[  An opening section on Anglo-Saxon women explores evidence from archeology and law, as well as from history, saints&#039; lives, and other literature.]]></dcterms:description>
    <dcterms:description><![CDATA[The second section assesses the impact of the Norman Conquest on women in England, while the third breaks the discussion of English women in the high and later Middle Ages into separate chapters on marriage and motherhood, work, and widowhood.]]></dcterms:description>
    <dcterms:description><![CDATA[  The fourth section assesses various issues of women&#039;s religious status and outlook, as well as their literary interest and depiction.]]></dcterms:description>
    <dcterms:description><![CDATA[  The book includes fifty pages of source material translated into modern English and briefly discusses Chaucer&#039;s Wife of Bath in light of &quot;Sir Gawain and the Green Knight&quot; and Christine de Pizan.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267438">
    <dcterms:title><![CDATA[Medieval Women: Texts and Contexts in Late Medieval Britain : Essays for Felicity Riddy]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty-three essays by various authors discuss female literature, conduct, and society in late-medieval literary, religious, and historical texts of Britain. Includes a celebration of Felicity Riddy, a bibliography of her publications, and an index. For five essays that pertain to Chaucer, search for Medieval Women: Texts and Contexts in Late Medieval Britain under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264105">
    <dcterms:title><![CDATA[Medieval Writers and Their Work: Middle English Literature and Its Background, 1100-1500]]></dcterms:title>
    <dcterms:description><![CDATA[Deals with the ideas behind Middle English literature, wirters, audiences, genres, personality versus impersonality, allegory, edification, and the attitude of later ages to the literature of medieval England.]]></dcterms:description>
    <dcterms:description><![CDATA[Revised in 2008, with new material and updated notes and bibliography]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269709">
    <dcterms:title><![CDATA[Medievalism and Convergence Culture: Researching the Middle Ages for Fiction and Film]]></dcterms:title>
    <dcterms:description><![CDATA[Trigg identifies two conflicting motivations for the making of Brian Helgeland&#039;s film &quot;A Knight&#039;s Tale&quot;: the desire for academic research to provide legitimacy and the desire to create a new fictional narrative to engage a contemporary audience. This and similar popular narratives contribute to the current popular distribution of medieval knowledge, an area of focus for medievalism studies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266030">
    <dcterms:title><![CDATA[Medievalism as Modernism: Alfred Andersch&#039;s Nominalist Litterature Engagee]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the consciously nominalistic modern poetics of German realist Andersch to Chaucer&#039;s nominalist mentality as evident in the anti-deterministic mood in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272360">
    <dcterms:title><![CDATA[Medievalism in E. E. Cummings&#039; Works: Dante, Chaucer and the Troubadours among the Modern]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes E. E. Cummings&#039; recovery and revision of medieval themes, models, and authors, including Chaucer, who inspired him to express the exaltation of beauty. Both authors&#039; use of language is considered revolutionary for their times.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276502">
    <dcterms:title><![CDATA[Medievalism in English Canadian Literature: From Richardson to Atwood.]]></dcterms:title>
    <dcterms:description><![CDATA[Collection of essays exploring the origins, development, and &quot;manifestation of medievalism in Canadian literature.&quot; For three essays pertaining to Chaucer, search for Medievalism in English Canadian Literature under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275898">
    <dcterms:title><![CDATA[Medievalism in English Renaissance Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;scope and range of Tudor responses to the Middle Ages,&quot; tracing the &quot;literary afterlife&quot; of Chaucer, Tudor &quot;editions and redactions&quot; of medieval romances, and &quot;Elizabethan dramatizations of medieval history.&quot; Poetic and editorial treatments of Chaucer mostly &quot;honor him for endowing England with a literary history and identity,&quot; although some &quot;treat him more like a colleague or poetic contemporary.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270699">
    <dcterms:title><![CDATA[Medievalism, Multilingualism, and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[In late medieval England, &quot;code-switching&quot; among English, French, and Latin was linked to literacy and social prestige, not to aberrant or nonconformist behavior; code-switching was a means to articulate social identity. Chaucer distanced his projects from attitudes of alleged &quot;masculine&quot; Anglophone monolingualism. He viewed his Continental counterparts not as linguistic inferiors, but as writers to be emulated; English was linked strongly to orality and, thus, to dialectical &quot;diversite.&quot; Multilingualism constituted power. Code-switching into Latin and French gave Chaucer&#039;s language an authority not available in English alone. Davidson refers to GP, NPT, PardT, WBT, SumT, FrT, and TC, along with works by Gower and Langland.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267533">
    <dcterms:title><![CDATA[Medievalism, Race, and Social Order in Gloria Naylor&#039;s &#039;Bailey&#039;s Café&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Naylor&#039;s novel &quot;revises&quot; CT by using Chaucer&#039;s frame technique to eliminate &quot;unnecessary and arbitrary barriers, rules, and labels.&quot; Naylor makes the café, like the pilgrim fellowship, a kind of sanctuary.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269424">
    <dcterms:title><![CDATA[Medievalism: The Middle Ages in Modern England]]></dcterms:title>
    <dcterms:description><![CDATA[Alexander traces the &quot;set of ideals&quot; underlying English medievalism, commenting on art, architecture, politics, and religion but focusing on literature. The study contains recurrent references to Chaucer&#039;s influence, including investigation of Walter Scott&#039;s uses of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271850">
    <dcterms:title><![CDATA[Medievalisms: Making the Past in the Present]]></dcterms:title>
    <dcterms:description><![CDATA[Analysis of the influence of medieval literature and culture on contemporary film, literature, and various academic disciplines. Includes discussion of Chaucer&#039;s CT, KnT, PF, and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265211">
    <dcterms:title><![CDATA[Medievalists and Deconstruction: An Exemplum]]></dcterms:title>
    <dcterms:description><![CDATA[Condemns the application of deconstructive criticism to medieval literature, critiquing, by way of example, the claim that Chaucer is a deconstructionist in Marshall Leicester, &quot;Oure Tonges Difference: Textuality and Deconstructive in Chaucer&quot; (1989).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263288">
    <dcterms:title><![CDATA[Meditation and Memory in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Using the three parts of the &quot;virtue of Providence&quot; as the basis for the three-book structure of HF, Chaucer implies that, although time moves forward through history, the past,present, and future exist all at once.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275464">
    <dcterms:title><![CDATA[Meditation on Our Chaucer and the History of the Canon.]]></dcterms:title>
    <dcterms:description><![CDATA[Asserts that the conflation of editing and canon-formation in literary history &quot;involve[s] an unavoidable circularity of reasoning, and an equally unavoidable series of assumptions we often claim to wish to avoid.&quot; Explores logical and methodological flaws that beset textual studies of Chaucer, focusing in particular on the &quot;late-nineteenth-century description of vowels,&quot; its misinformation and confusions, and the errors perpetrated by taking for granted its validity]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267692">
    <dcterms:title><![CDATA[Meditations on the &#039;Historical Present&#039; and &#039;Collective Memory&#039; in Chaucer and Sir Gawain and the Green Knight]]></dcterms:title>
    <dcterms:description><![CDATA[Like tense-switching and first-person point of view, the use of the &quot;historical present&quot; by Chaucer and the Gawain poet illustrates how medieval authors could convincingly remember and authenticate the stories they told. The past is the time of narrative; the present is the tense of narrative. Only modern literary convention prefers past events narrated in the past tense.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276696">
    <dcterms:title><![CDATA[Meeting the Medieval in a Digital World.]]></dcterms:title>
    <dcterms:description><![CDATA[Ten essays by various authors on topics related to digital research and analysis in medieval studies, with an Introduction by the editors and a comprehensive index. For two essays that pertain to Chaucer, search for Meeting the Medieval in a Digital World under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275008">
    <dcterms:title><![CDATA[Meetings with Remarkable Manuscripts: Twelve Journeys into the Medieval World.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses twelve notable medieval manuscripts, recounting personal encounters with each in its library setting, emphasizing aesthetic appreciation, illustrations, and the exigencies of provenances, while including codicological descriptions and textual comments. Chapter 10, &quot;The Hengwrt Chaucer: c. 1400, Aberystwyth, National Library of Wales, Peniarth MS 392 D&quot; (pp. 426-65), explores the Sammelbände composition of the codex, posits the likelihood of a two-stage construction, and questions whether Adam Pinkhurst was its scribe and the possibility that Pinkhurst is named in Adam. The chapter includes nineteen color illustrations; its notes (pp. 573-610) are capacious.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269995">
    <dcterms:title><![CDATA[Melancholy and Dreams in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, Troilus&#039;s  melancholic character and his intense intellectual activity--a topos reminiscent of the first of Pseudo-Aristotle&#039;s thirty &quot;problemata&quot; in &quot;Problemata Physica,&quot; according to which all men of genius are melancholy--are especially evident in  the hero&#039;s dreams. The dreams present themselves vividly to the melancholy sleeper&#039;s mind, and his interpretation of them is more problematic and subtle than that of Pandarus.]]></dcterms:description>
</rdf:Description></rdf:RDF>