<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/267817">
    <dcterms:title><![CDATA[Musical Instruments as Iconographical Artifacts in Medieval Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[For medieval poets, the &quot;hyperreality of musical instruments&quot; was &quot;more significant&quot; than was their reality. In &quot;Beowulf,&quot; the harp signifies Hrothgar&#039;s agenda of political conquest and order; in Machaut&#039;s &quot;Remedy of Fortune,&quot; the &quot;instruments signify the Lady&#039;s bounty, the celestial associations of her court, and the displaced sexuality of the collector.&quot; In MilT, Nicholas&#039;s psaltery is a &quot;surrogate for the female body.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262146">
    <dcterms:title><![CDATA[Musical Irony in the &#039;Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Pardoner ironically depicts his musicians playing the wrong instruments for a successful performance, thereby indicating the inherent (and disastrous) competitive nature of their fellowship.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264286">
    <dcterms:title><![CDATA[Musical Signs and Symbols in Chaucer: Convention and Originality]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer uses both conventional and original musical signs, some &quot;in bono,&quot; some &quot;in malo.&quot;  His originality manifests itself in five main areas:  &quot;single signs, elaborate combinations, vivid contrasts, recurring symbolism, and overall structure,&quot; as noted in CT, PF, BD, HF, TC, Boece, LGW, Mars.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270838">
    <dcterms:title><![CDATA[Muslim Griselda: The Politics of Gender and Religion in Geoffrey Chaucer&#039;s &#039;Clerk&#039;s Tale&#039; and Pramoedya Ananta Toer&#039;s &#039;The Girl from the Coast&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Raybin compares the work by the Indonesian novelist Pramoedya Ananta Toer with ClT. Both works involve a powerful man who marries a poor girl and who eventually dismisses her. Pramoedya pays careful attention to the heroine&#039;s thoughts and feelings, while Chaucer largely obscures Griselda&#039;s feelings. Both works show how literature depicts the emotional life of &quot;the oppressed female poor.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271959">
    <dcterms:title><![CDATA[Mutable Imagination: Time, Space and Imagination in Medieval English Narrative]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the narrative structures of various narrative poems in Old and Middle English, especially as these relate to an &quot;apocalyptic sense of history&quot; and the dislocations it produces. Includes a chapter on TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271547">
    <dcterms:title><![CDATA[Mutual Masochism and the Hermaphroditic Courtly Lady in Chaucer&#039;s &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Jacques Lacan&#039;s and Slovoj Žižek&#039;s discussions of courtly love, focusing on the hermaphroditic potential of the Courtly Lady, and discusses FranT for the ways that hermaphroditic and masochistic tendencies inhabit the main characters&#039; &quot;performances of amatory submission&quot; (177). Also, comments on the Franklin&#039;s submission to the Host and his queering of that position by foreclosing &quot;masculine pleasure in climax&quot; at the end of the tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271515">
    <dcterms:title><![CDATA[My Child and My Life: Sacrificial Obligation and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Arguing for the prominence of the Biblical account of Abraham&#039;s sacrifice of Isaac in medieval culture, the author observes the presence of children as sacrificial figures in MkT, PrT, PhyT, MLT, and ClT, and notes the rewards of faith in those sacrificial circumstances.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275900">
    <dcterms:title><![CDATA[My Gay Middle Ages.]]></dcterms:title>
    <dcterms:description><![CDATA[Autobiographical remembrance/contemplation by a gay medievalist in New York. Includes frequent references and allusions to medieval topics, including Chaucer, here described as &quot;really the most important thing in the world.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271849">
    <dcterms:title><![CDATA[My Poets]]></dcterms:title>
    <dcterms:description><![CDATA[Combines memoir with literary criticism to explore the importance of poetry in the examined life. Begins with discussion of TC and Chaucer&#039;s use of &quot;kankedort.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275580">
    <dcterms:title><![CDATA[My Purse and My Person: &quot;The Complaint of Chaucer to His Purse&quot; and the Gender of Money.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores &quot;links between gender ideology and money in the late Middle Ages,&quot; arguing that Chaucer&#039;s &quot;depiction of his purse as a faithless female lover&quot; in Purse reflects the &quot;cultural imaginary around money before the emergence of<br />
political economy.&quot; Moreover, modern critical studies of the poem reveal how scholars seek &quot;to distance Chaucer from the feminizing taint of both poverty and treachery.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269339">
    <dcterms:title><![CDATA[Myn Erthly God - Paradigm and Parody in the Prologue to the Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Meecham-Jones contrasts LGWP with BD, showing how the former exhibits the poet&#039;s confidence in adapting sources. Discusses the depiction of Alceste as a parody of figures such as Boethius&#039;s Philosophy, Dante&#039;s Beatrice, and the Pearl-maiden - assessing Alceste as a figure of insufficiency and exploring the &quot;limited nature of any comprehension of truth.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277470">
    <dcterms:title><![CDATA[Mystics, Goddesses, Lovers, and Teachers: Medieval Visions  and Their Modern Legacies: Studies in Honour of Barbara Newman.]]></dcterms:title>
    <dcterms:description><![CDATA[Fifteen essays by various authors on topics related to medieval mysticism, art, literature, and their later reception and influence, with an introduction by the editors and an account of Newman&#039;s publications by Jeffrey E. Singerman. For two essays that pertain to Chaucer, search for Mystics, Goddesses, Lovers, and Teachers under Alterative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269067">
    <dcterms:title><![CDATA[Myth and the Present : Chaucer&#039;s Troilus as a Mirror for Ricardian England]]></dcterms:title>
    <dcterms:description><![CDATA[Presenting Troy in TC as the mirror image of London in the 1380s, Chaucer engages conflicting notions of history and historiography. In particular, his depiction of the Trojan parliament is a warning to his contemporaries. Chaucer embraces wholeheartedly neither Christian teleology nor pagan cyclicity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274313">
    <dcterms:title><![CDATA[Myth as Paradigm in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the Helen-Deiphebus sub-plot in TC for the ways that it reinforces the poem&#039;s theme of inconstancy and anticipates Criseyde&#039;s relationship with Diomedes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262782">
    <dcterms:title><![CDATA[Myth, Allegory, and Vision in the &#039;Parlement of Foules&#039;: A Study in Chaucerian Problem Solving]]></dcterms:title>
    <dcterms:description><![CDATA[Although scholars agree that Chaucer failed to provide a solution to the problems raised in PF, Piehler argues through a reading on scholastic principles that Chaucer solves them &quot;in accordance with principles characteristic of his age and fundamental to its practice of allegory.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264570">
    <dcterms:title><![CDATA[Mythic Sequence in the &quot;Man of Law&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Problems of tone--comic versus tragic--make the reader of MLT uneasy.  There is also the problem of the weakness of the &quot;literal narrative and the heavy-handed intrusions of the author.&quot;  One can discern meaningful form, however, if one observes that the four supernatural interventions in the tale correspond to the first four (or five) stages in the &quot;archetypal process for salvation.&quot; Constance&#039;s prayer establishes a &quot;continuity between the mythic past and the experiential present.&quot;  Christ appears as her champion, reflecting the &#039;ransom&#039; theory of salvation.  Constance is in turn the Christian soul; the Virgin, &quot;a &#039;propugnatrix&#039; in a world made damnable by women&quot;; and mankind.  Chaucer modifies Trevet to underscore this mythic pattern.  The narrative, thus understood, fits the narrator, who reflects the moral fervor of the English middle class in the fourteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275468">
    <dcterms:title><![CDATA[Mythodologies: Methods in Medieval Studies, Chaucer, and Book History.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes a series of essays in medieval studies and book history that are concerned &quot;with the tenuous connection between what we define as evidence and what we construct as the narrative, scholarly or historical, that makes sense of that evidence.&quot; For five essays that pertain to Chaucer, search for Mythodologies: Methods in Medieval Studies, Chaucer, and Book History under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262073">
    <dcterms:title><![CDATA[Mythography in the Tradition of Commentaries on Boethius&#039; &#039;Consolation of Philosophy&#039;, 1150-1500]]></dcterms:title>
    <dcterms:description><![CDATA[A study of later medieval commentaries on classical myth in the Boethian work sheds light on such matters as Chaucer&#039;s treatment of the Muses and Lydgate&#039;s view of Hercules.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271957">
    <dcterms:title><![CDATA[Mythography or Historiography? The Interpretation of Theban Myths in Late Mediaeval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Explores historicity and fictionality in medieval narratives of early. mythic Thebes. Includes brief commentary on the sources of Chaucer&#039;s knowledge of Oedipus and his conflation of Egyptian and Boeotian Thebes in KnT 1.1470ff.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265507">
    <dcterms:title><![CDATA[Mythological Lovers in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Mythological lovers alluded to in TC were associated in medieval letters with &quot;amor stultus,&quot; foolish love.  Allusions to Oenone, Tereus and Procne, Orpheus and Eurydice, and Myrrha help characterize the love of Troilus and Criseyde as foolish, thereby foreshadowing the message of the epilogue.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267968">
    <dcterms:title><![CDATA[Mythological References in Two Painted Inscriptions of David Jones]]></dcterms:title>
    <dcterms:description><![CDATA[Wilcockson examines the eclectic allusiveness of inscriptions painted by David Jones, one of which echoes lines 1003-12 of Chaucer&#039;s Rom.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268977">
    <dcterms:title><![CDATA[Mythopoesis and Ideology in Late Medieval and Early Modern Versions of &#039;Lucrece&#039; and &#039;Philomela&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Chaucer&#039;s rendition of Lucrece (in LGW) as part of a series of narratives that transform Lucrece&#039;s story into a text that &quot;reveal[s] an evolving patriarchal ideology.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272042">
    <dcterms:title><![CDATA[Mythopoetics and Chaucer&#039;s &#039;Hous of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the skeptical uncertainly about dreams that is expressed in the opening of HF as it relates to classical and medieval notions of &quot;mythopoesis&quot; and the validity and interpretation of poetry. Reads HF as a parody of mythopoesis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270971">
    <dcterms:title><![CDATA[Mythos Medea]]></dcterms:title>
    <dcterms:description><![CDATA[This anthology of drama, poetry, fiction, and essays that pertain to Medea ranges from Euripides to the late twentieth century, including a facing-page selection (pp. 114-23) from the story of Hypsipyle and Medea in LGW, presented in Middle English and German translation (by Adolf von Düring).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270035">
    <dcterms:title><![CDATA[Naked Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[The appearance of naked &quot;Geoff&quot; Chaucer in Brian Helgeland&#039;s film, &quot;A Knight&#039;s Tale,&quot; &quot;challenges the logic of the present . . . assumed by presentism,&quot; even while reminding us that historical periods exist, &quot;each one haunted by the moment of its diachronic foundation.&quot; In a Lacanian sense and by means of an &quot;allegorized sexuality,&quot; &quot;Geoff&quot; is a reminder of the uncanny presence of the past in the present. Edmondson compares moments in the film to KnT and to the prologue to Th.]]></dcterms:description>
</rdf:Description></rdf:RDF>