<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/261661">
    <dcterms:title><![CDATA[Orality and Literacy in Three Medieval English Texts: Bede&#039;s &#039;Historia ecclesiastica gentis Anglorum,&#039; Chaucer&#039;s &#039;Canterbury Tales,&#039; and &#039;The Book of Margery Kempe&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Freed from the false dichotomy of oral/writen literature, these three works are seen as history created through the fusion of oral and written sources (Bede), literary use of oral performance conventions (CT frame), and credible combinations of textual authority with the authenticity of spoken language (Kempe).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266544">
    <dcterms:title><![CDATA[Orality and the Satiric Tradition in &#039;The Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses oral satiric performance in PardPT, focusing on medieval flytings, sermons, and &quot;additive&quot; oral structure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262388">
    <dcterms:title><![CDATA[Orality, Literacy, and Chaucer: a Study of Performance, Textual Authority, and Proverbs in the Major Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s poetry presents tensions between the authority of literature and that of traditional oral wisdom.  In HF, the confused narrator cannot induce meaning; in TC, Troilus&#039;s mindset, Pandarus&#039;s and Criseyde&#039;s reliance on proverbs, and the narrator&#039;s insistence on his author&#039;s authority are in conflict; in CT, narrator and characters misinterpret one another.  Readers become interpreters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271643">
    <dcterms:title><![CDATA[Orchestral Score and Libretto for Five Scenes from Criseyde: A Feminist Retelling of Chaucer&#039;s Troilus and Criseyde : Opera in Two Acts]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; cited in WorldCat, with parallel record for a piano/vocal score. A related website, Criseyde: A New Opera by Alice Shields, is available at http://www.aliceshields.com/criseyde/index.html (accessed March 28, 2014).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272007">
    <dcterms:title><![CDATA[Order and the Noble Life in Chaucer&#039;s &#039;Knight&#039;s Tale?&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines in KnT the rhetorical and thematic concerns with order, choice, and the difficulties of achieving resolution. Reads Palamon and Arcite as a balanced pair, and Theseus as a figure of the limited human ability to avert fortune and determine fate. Unlike in Boccaccio&#039;s &quot;Teseida,&quot; disorderly Saturn dominates KnT; the Knight is deluded in thinking that orderly Jupiter is in control.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269346">
    <dcterms:title><![CDATA[Order, Freedom, and &#039;Commune Profyt&#039; in Chaucer&#039;s Parlement of Foulys&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[A construction of the dreamer, PF poses sociopolitical criticism through oppositions and explores the power of words.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263239">
    <dcterms:title><![CDATA[Order&#039;s Image in Heinrich von Morungen, Dante, Chaucer, and Two Middle English Lyrics]]></dcterms:title>
    <dcterms:description><![CDATA[A &quot;double game&quot; of &quot;dual modes of organization, verisimilitude and ordination&quot; informs medieval literature.  Nolan examines von Murungen&#039;s &quot;Ich horte uf der Heide,&quot; Dante&#039;s story of Paolo and Francesca, Chaucer&#039;s tale of Walter and Griselda, and two Marian poems.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268180">
    <dcterms:title><![CDATA[Orfeo in Albione]]></dcterms:title>
    <dcterms:description><![CDATA[Five chapters, focusing on &quot;Sir Orfeo,&quot; &quot;The Awntyrs off Arthure,&quot; the &quot;Second Shepherd&#039;s Play,&quot; BD, and Pearl, respectively. The study emphasizes the intertextual relationships between classical myths, on the one hand, and Celtic and Anglo-Saxon myths, on the other, exploring the transformation of ancient myths into modern narratives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268129">
    <dcterms:title><![CDATA[Orientalism and the Critical History of the Squire&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Bleeth surveys critical responses to SqT for the ways they reflect assumptions about and attitudes toward the East as a cultural Other. Considers criticism from Thomas Warton (1778) through recent efforts to come to terms with and go beyond Edward Said&#039;s Orientalism (1978).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268071">
    <dcterms:title><![CDATA[Orientation and Nation in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on such terms and concepts as &quot;nacioun,&quot; &quot;degree,&quot; &quot;countre,&quot; race, and geography in KnT, SqT, MLT, and WBT, indicating that in CT the world is ordered by the principles of geography and nation. Nationalism is emergent in CT, but Orientalism is not.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268791">
    <dcterms:title><![CDATA[Origin and Adaptation of the Medieval Theban Narrative from Gildas to Shakespeare]]></dcterms:title>
    <dcterms:description><![CDATA[Examines treatment of Theban/Oedipal myth in Chaucer, Lydgate, and Shakespeare.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261263">
    <dcterms:title><![CDATA[Original Borrowings from the French in Chaucer&#039;s Translation of Le Roman de la Rose]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty-five percent of the Old French loanwords in Rom are &quot;new to English or used with a new English menaing&#039;; most reflect influences of aristorcratic, secularized French romances. Includes chart of loanwords.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265384">
    <dcterms:title><![CDATA[Originary Fantasies and Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reprinted in Gayle Margherita, The Romance of Origins Language and Sexual Difference in Middle English Literature (Philadelphia: University of Pennsylvania Press, 1994), pp. 82-99.]]></dcterms:description>
    <dcterms:description><![CDATA[Freud&#039;s notion of fetishism informs this reading of BD, which argues that the narrator identifies with both the female Alcyone and the male Black Knight, revealing a tension between a fear of discursive impotency and the &quot;desire to desire.&quot;  Margherita reads BD as a preface to TC, wherein &quot;Criseyde inherits the dangerous position of Lady White, becoming the focus of the narrator&#039;s--and the poet&#039;s--desire to desire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276529">
    <dcterms:title><![CDATA[Origins and Introductions: Troy and Rome in Medieval British and Irish Writing.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares &quot;English, Welsh, and Irish refabrications of the Trojan legend as national origin myths,&quot; focusing on the ambivalences of the legend, describing the &quot;translatio imperii studiique,&quot; and commenting on medieval (including Chaucerian) meanings of &quot;Britain,&quot; &quot;British,&quot; and related terms. Includes discussion of HF, particularly its &quot;Trojan preface,&quot; list of historians, and concern with the &quot;contingent nature of historical truth&quot; and the fineness of &quot;the line between history and romance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262534">
    <dcterms:title><![CDATA[Orpheus, Eurydice, and the &#039;Double Sorwe&#039; of Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The tale of Orpheus is a tragic love story used to convey the central moral lesson of Boethius&#039;s &quot;Consolation,&quot; a lesson corresponding to the &quot;moralitee&quot; spelled out in the epilogue to Chaucer&#039;s TC.  Both the Orpheus metrum and Chaucer&#039;s poem have a two-part structure based on the lover&#039;s winning and then losing his beloved.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262402">
    <dcterms:title><![CDATA[Orthodox Religion and the Origins of Lollardy]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews Chaucerian references to Lollards and sees early Lollard belief as highly eclectic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270652">
    <dcterms:title><![CDATA[Orthography, Codicology, and Textual Studies: The Cambridge University Library Gg.4.27 Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Analysis of MS Gg.4.27 of CT, combining a codicological approach with analysis of linguistic aspects such as graphemic and graphetic variants. This multifocal approach helps identify the process of copying as well as the scribal profile.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270693">
    <dcterms:title><![CDATA[Osbern Bokenham Reads the &#039;Prologue&#039; to the Legend of Good Women: The Life of St. Margaret]]></dcterms:title>
    <dcterms:description><![CDATA[Bokenham repeatedly refers to himself as an &quot;auctor&quot; as a way to extricate himself from the classicizing, conventional, and paternal shadow of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270269">
    <dcterms:title><![CDATA[Osbern Mentions a Book]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies parallels between Chaucer&#039;s dream visions and the one depicted in Osbern of Gloucester&#039;s &quot;Liber derivationum&quot; or &quot;Panormania&quot;:  the reading of a book inspires the central dream and there is a significant concern with Macrobius&#039;s concept of a &quot;narratio fabulosa.&quot; Chaucer may not have known Osbern&#039;s work directly, but he was apparently influenced by its legacy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277344">
    <dcterms:title><![CDATA[O̳sennaho̳ Aye̳se̳m Abie̳sa bi Mmoaano: O̳kyere̳wfo Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record indicates this is a translation into Ewe.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275553">
    <dcterms:title><![CDATA[Other Families: Dryden&#039;s Theory of Congeniality in Dante, Chaucer, and Naylor.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores ways that John Dryden&#039;s notions of congeniality and the value of the vernacular in his commentary on Chaucer help to clarify Gloria Naylor&#039;s adaptations of Dante&#039;s &quot;Inferno&quot; in &quot;Linden Hills&quot; and of CT in &quot;Bailey&#039;s Café, &quot;identifying in the two novels thematic and formal concerns with vernacularity, voice, community, subversion, and relations between &quot;codified and unruly forms of literary production.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264803">
    <dcterms:title><![CDATA[Other Senses of Ending]]></dcterms:title>
    <dcterms:description><![CDATA[Spenser and Chaucer both composed subtle, complex closures, spreading out before the audience several endings, like sections of a fan.  Many medieval poems ended almost interchangeably in a formulaic prayer for salvation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265182">
    <dcterms:title><![CDATA[Other Voices in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Imitative indirect discourse in the portraits of the Monk, Friar, and Parson presents attitudes not Chaucer&#039;s in language not his.  Examining personae in early tales may alter the pilgrim&#039;s portrait or the tone, as when the Merchant&#039;s ironic praises of marriage are read as January&#039;s serious ones.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274631">
    <dcterms:title><![CDATA[Other Worlds: Chaucer&#039;s Classicism.]]></dcterms:title>
    <dcterms:description><![CDATA[Aligns Chaucer&#039;s depictions of classical culture and his attitudes toward pagan belief, arguing that his &quot;remarkable degree of cultural relativism&quot; and his &quot;reluctance to resort to simplistic forms of Christian triumphalism&quot; are &quot;delimited&quot; only by his rejection of polytheism. His respect for ancient moral philosophy is evident in KnT and PhyT; for classical science, in SqT, FranT, and CYT. SqT also reflects Chaucer&#039;s interests in &quot;Orientalism.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262410">
    <dcterms:title><![CDATA[Otherworld Motifs and Paradigms: A Study of Celtic Influence on Early English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Three paradigms of the Celtic universe made their way, through either oral or literary tradition, into early English literature, as is shown in &quot;Sir Orfeo,&quot; &quot;Sir Gawain and the Green Knight,&quot; passages from four of the tales in CT, Spenser, and Shakespeare.]]></dcterms:description>
</rdf:Description></rdf:RDF>