<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/277418">
    <dcterms:title><![CDATA[Narrative on the Margins: Tales and Fabliaux.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers a history of the fable in Middle English poetry, with examples from several poems, including discussing four extant fables. Concludes by showing the importance of the fable to the idea of the CT as a whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265869">
    <dcterms:title><![CDATA[Narrative Patterns of Affect in Four Genres of the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer uses interjections and exclamations as a means of audience involvement, promoting dramatic suspense in his works.  Certain words are so closely associated with certain genres that when Chaucer uses them in another context, they echo the original text.  Chaucer often manipulates this technique for comic or ironic effect.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265397">
    <dcterms:title><![CDATA[Narrative Pessimism and Textual Optimism in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the narrators of BD and HF and their attitudes toward experience and bookish authority, clarifying how the HF narrator is &quot;rendered completely and comprehensively skeptical.&quot;  Yet, the lack of an ending to HF encourages readers to transcend the narrator&#039;s skepticism, recognizing both &quot;truth&quot; and &quot;untruth.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268225">
    <dcterms:title><![CDATA[Narrative Play and the Display of Artistry in Chaucer&#039;s Canterbury Tales and Pasolini&#039;s I racconti di Canterbury]]></dcterms:title>
    <dcterms:description><![CDATA[Though Pasolini&#039;s visualization of CT chooses to emphasize &quot;solaas&quot; rather than &quot;sentence,&quot; both the filmmaker and the poet offer metafictional reflections on their art and the &quot;discourse of the narrative.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271948">
    <dcterms:title><![CDATA[Narrative Play: Medieval Dream Narrators and Poetic Process]]></dcterms:title>
    <dcterms:description><![CDATA[Examines HF and other medieval dream-visions from a stand-point of performance theory, while considering the role of the narrator/dreamer as perceiver and creator of meaning, with ramifications for how narrative may be viewed as process, rather than as product.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266699">
    <dcterms:title><![CDATA[Narrative Reflections: Re-envisaging the Poet in &#039;The Canterbury Tales&#039; and &#039;The Faerie Queene&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer, especially GP, inspired Spenser&#039;s poetic identiy in &quot;The Faerie Queene.&quot;  Through allegory, Spenser manifests Chaucer&#039;s ironic doubleness, and he de-centers his dominant narration through various forms of &quot;impersonations,&quot; emulating Chaucer&#039;s blurring of &quot;character and characterizer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273286">
    <dcterms:title><![CDATA[Narrative Speed in the &quot;Pardoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Rejects attempts to read PardT as an example of psychological realism and reads it instead as a &quot;rapidly progressing discourse&quot; that results from &quot;special use of rhetorical devices for the impression of speed.&quot; The Tale conveys to its audience a sense of the contradictions that inhere in &quot;normal experience.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261522">
    <dcterms:title><![CDATA[Narrative Strategies in Early English Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[In medieval verse (e.g., Beowulf, Sir Gawain and the Green Knight, King Horn, and Chaucer&#039;s works), tense and aspect of verbs prove more significant than previously recognized.  Rather than serving demands of meter and rhyme, Chaucer&#039;s verbal constructions signal narrative development.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274414">
    <dcterms:title><![CDATA[Narrative Structure in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes relations between structure and theme in TC, demonstrating how the poem&#039;s pattern of action and verbal parallels induce &quot;classical symmetry&quot; and function as a &quot;metaphor of harmony and order, while an &quot;underlying chaos&quot; of &quot;inverted parallels, ironic foreshadowing, and multiple points of view . . . lends itself to a metaphor of cacophony and disorder.&quot; Together, they enforce &quot;duality,&quot; and a &quot;realistic view of human involvement.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265853">
    <dcterms:title><![CDATA[Narrative Structures Generated by the Theme of Deception in Medieval European Short Stories]]></dcterms:title>
    <dcterms:description><![CDATA[Examines narrative structures in &quot;Disciplina clericalis,&quot; &quot;Sendebar,&quot; &quot;Calila e Dimna,&quot; CT, &quot;Decameron,&quot; &quot;Auberee et Le Pretre et Alison,&quot; and &quot;Dame Siriz,&quot; using Bremond&#039;s sequential analysis to explore event-linking and deception, and Barthes&#039;s analysis to study initial elements and their expansions in these works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263900">
    <dcterms:title><![CDATA[Narrative Technique and Closure in Chaucerian Works]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s work evolved structurally from circular (dream visions) to spiral (TC; CT), developing closure through &quot;thematic resolution&quot; and metaphoric symbols.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270536">
    <dcterms:title><![CDATA[Narrative Techniques in Chaucer&#039;s &#039;Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;economy and pace, characterization, style, and plot-form&quot; of PardT, comparing it with folk-tales, and summarizes the narrative functions of the &quot;digression&quot; on vice (6.485-660).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262074">
    <dcterms:title><![CDATA[Narrative Typology : Chaucer&#039;s Use of the Story of Orpheus]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer employs the Orpheus story from Boethius in KnT and TC as an archetype of the tragedy of love.  He relies on the Orpheus myth primarily as a narrative pattern, not as a philosophical fable or moral allegory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270025">
    <dcterms:title><![CDATA[Narrative Use and the Practice of Fiction in &#039;The Book of Sindibad&#039; and &#039;The Tale of Beryn&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Bolens explores David Rudrum&#039;s notion of &quot;narrative use&quot; (fiction as a speech act that is used for a purpose) and applies it to &quot;The Book of Sindibad,&quot; &quot;The Seven Sages of Rome,&quot; and especially &quot;The Tale of Beryn.&quot; Narrative use is an overt concern throughout &quot;Beryn,&quot; which,through its frame, encourages law students to become expert in the use of fiction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267805">
    <dcterms:title><![CDATA[Narrative Voice : The Case of Chaucer&#039;s Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[A survey of selected criticism since Kittredge demonstrates that the idea of a fallible narrative voice has dominated criticism of CT. Spearing examines MLT 2.141-96 to show the difficulty of separating narrational from nonnarrational elements and of demonstrating an unreliable narrator. Focus on a fictional, narrative voice obscures the meaning of MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264974">
    <dcterms:title><![CDATA[Narrative Voice in Chaucer&#039;s Dream Visions]]></dcterms:title>
    <dcterms:description><![CDATA[A reading of Chaucer&#039;s dream visions as a genre reveal a controlling tension between the narrator&#039;s awareness of the demands of Christian doctrine and his human compassion for those enduring the rigors of life on earth.  He is sympathetic to human frailty and concerned with his own religious obligations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268313">
    <dcterms:title><![CDATA[Narrative Voice, Narrative Framework: The Host as &#039;Author&#039; of The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Carruthers examines the framing structure and links of CT, with particular attention to the Host&#039;s role. Harry Bailey is both a unifying instrument in the poet&#039;s hands and an extension of Chaucer&#039;s identity, an alter ego who will ultimately be silenced in Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265652">
    <dcterms:title><![CDATA[Narrative Voices in Chaucer&#039;s &#039;Wife of Bath&#039;s Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies devices in WBP whereby Chaucer sought to &quot;criticize and belittle his own creation&quot;:  blasphemy, intrusions of male discourse, contradiction, and various forms of distortion and exaggeration.  But the Wife&#039;s &quot;loud, polemical voice ... carries the day.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265587">
    <dcterms:title><![CDATA[Narrative, Authority, and Power: The Medieval Exemplum and the Chaucerian Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Late-medieval English exempla and exemplum collections have political and ideological significance.  Vernacular exempla are &quot;narrative enactment(s) of cultural authority&quot; that appropriate the authority of exemplary sermons and imitate the political goals of the &quot;Furstenspiegel,&quot; or Mirrors of Princes.]]></dcterms:description>
    <dcterms:description><![CDATA[Such &quot;Chaucerian&quot; uses of exempla as those in CT, Gower&#039;s &quot;Confessio Amantis,&quot; Lydgate&#039;s &quot;Fall of Princes,&quot; and Hoccleve&#039;s &quot;Regement of Princes&quot; claim &quot;moral and cultural authority&quot; and support secular claims for power over the church.  Chaucer&#039;s efforts at textual complexity are &quot;always conditioned&quot; by his political goal of promoting the sharing of power between the crown and the aristocracy. ]]></dcterms:description>
    <dcterms:description><![CDATA[Following the Ellesmere order of CT, Scanlon traces patterns of relations between textual complexity and political moralization in FrT, SumT, ClT, PardT, Mel, MkT, NPT, and ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266945">
    <dcterms:title><![CDATA[Narratives of a Nurturing Culture: Parents and Neighbors in Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Examines various fourteenth- and fifteenth-century historical and literary texts to demonstrate that law and tradition encouraged parental and communal responsibility for the proper raising of children. Mentions PrT and the hagiography of Hugh of Lincoln.]]></dcterms:description>
    <dcterms:description><![CDATA[Also published in &quot;Of Good and Ill Repute&quot;: Gender and Social Control in Medieval England (New York: Oxford University Press, 1998).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268609">
    <dcterms:title><![CDATA[Narratives of Healing: Emotion, Medicine, Metaphor, and Late-Medieval Poetry and Prose]]></dcterms:title>
    <dcterms:description><![CDATA[Explores medieval attitudes toward the medical foundations of the emotions in MerT, TC, Gower&#039;s &quot;Confessio Amantis,&quot; and Diego de San Pedro&#039;s &quot;Cárcel de Amor.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265596">
    <dcterms:title><![CDATA[Narrativity, Allusion, and the Peasants&#039; Revolt of 1381 According to Froissart, Chaucer, and Paine]]></dcterms:title>
    <dcterms:description><![CDATA[Froissart&#039;s &quot;Chroniques&quot; have shaped subsequent perceptions of the uprising of 1381.  Although Chaucer refers to it only once, his placement of the simile in NPT is significant.  Edmund Burke and Thomas Paine took opposing eighteenth-century views.  Rhetorical analysis reveals how the revolt took shape in human consciousness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277149">
    <dcterms:title><![CDATA[Narrator Theory and Medieval English Narratives.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the applicability of modern narratology to medieval narratives, examining the narrating position in &quot;King Horn&quot; as popular romance and in BD as adaptation of a French &quot;dit,&quot; and showing that novel-based notions of narrator-as-character do not apply. In Chaucer&#039;s case, the first-person pronouns convey &quot;a proximal deictic,&quot; i.e., &quot;a certain literary effect, one that is hard to define except as &#039;I-ness&#039;--the sense of being a centre of experience and perception.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277659">
    <dcterms:title><![CDATA[Narrator&#039;s Point of View in the Portrait-sketches, Prologue to the &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;free-ranging points of view&quot; of the narrator of GP, identifying its conventionality modeled on the &quot;Roman de la Rose&quot; and arguing that Chaucer&#039;s various manipulations of first-person and omniscient perspectives in individual descriptions generally convey the &quot;complex nature of actuality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277404">
    <dcterms:title><![CDATA[Narratorial Involvement in Hagiography: Chaucer, the Scottish &quot;Legendary&quot; and Lydgate&#039;s &quot;Albon and Amphibalus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Uses the term &quot;narrator&quot; as a technical term to refer to &quot;the contours of the narratorial functions and the textual voice as these are inscribed,&quot; focusing on &quot;expansion of narratorial functions&quot; in fifteenth-century English hagiography. Includes discussion of the increasing role of the &quot;prologue or proëmium,&quot; with attention to the limits of narratorial &quot;voice&quot; in PrP and SNP and to Chaucer&#039;s stylistic influence on Lydgate.]]></dcterms:description>
</rdf:Description></rdf:RDF>