<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/275030">
    <dcterms:title><![CDATA[Ovid in Chaucer and Gower.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys texts by and about Ovid that Chaucer and Gower &quot;might have used,&quot; arguing that the influence of Ovid was pervasive, complex, and crucial to the &quot;careers and poetic self-fashioning&quot; of both medieval poets, a model of poetic authority for them. Shows where and how, throughout his career, &quot;Chaucer shapes his poetic identity and persona in a wry distortion of Ovid as &#039;praeceptor&#039; or &#039;magister amoris&#039;.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275921">
    <dcterms:title><![CDATA[Ovid: Artistic Identity and Intertextuality.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces connections between Ovid and Chaucer and asserts that &quot;Chaucer emerges not simply as a conveyor of or apprentice to Ovid, but as a &#039;collaborator&#039; in an Ovidian poetic, one who necessarily and wilfully transforms Ovid&#039;s &#039;book&#039; into his own.&quot; In the sections that follow an introduction of Chaucerian and Ovidian resonances, makes a case for viewing Chaucer as Ovid&#039;s &quot;dynamic partner and active contributor to Ovidian intertextuality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274300">
    <dcterms:title><![CDATA[Ovid&#039;s Argus and Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s allusions to Argus in WBP, MerT, and TC derive ultimately from Ovid&#039;s &quot;Ars Amatoria&quot; and &quot;Amores&quot; and capitalize on the &quot;conventional moral significations&quot; of the moralized commentary tradition, lending resonances to the allusions]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269273">
    <dcterms:title><![CDATA[Ovid&#039;s Art and the Wife of Bath: The Ethics of Erotic Violence]]></dcterms:title>
    <dcterms:description><![CDATA[Desmond studies the discourse of erotic violence in medieval literature and iconography, surveying depictions of the &quot;mounted Aristotle&quot; and focusing on the adaptations of material from Ovid&#039;s &quot;Ars Amatoria&quot; found in the letters of Héoïse and Abélard, the &quot;Roman de la Rose,&quot; WBP, and Christine de Pizan&#039;s contributions to the Querelle de la Rose. The letters of Héoïse and Pizan &quot;offer alternative perspectives&quot; to the &quot;canonical reworkings&quot; of Ovid, while the Roman and WBP reflect the &quot;erotic potential of intimate violence&quot; that has connections with sadomasochism, as well as being rooted in the homoerotics of love in Ovid&#039;s imperial Rome. The popularity of the Wife of Bath today indicates that the &quot;strategic relations&quot; of love and violence in WBP continue to shape our contemporary attitudes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273888">
    <dcterms:title><![CDATA[Ovid&#039;s Elegies from Exile and Chaucer&#039;s House of Fame.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Ovid&#039;s &quot;Tristia&quot; and &quot;Ex Ponto&quot; influenced the ideas of Fame, Fortune, and Rumor in HF, along with several details in the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271271">
    <dcterms:title><![CDATA[Ovid&#039;s Influence on Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Essay not located; reported in the MLA International Bibliography, with the following note: &quot;Proceedings of the Northeast Region Conference: Voices Far and Near: Myth, Legend, Folktale, Fantasy, Held Friday, October 25 and Saturday, October 26, 2002.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273809">
    <dcterms:title><![CDATA[Ovid&#039;s Priapus in the Merchant&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Explains the sexual resonances latent in the reference to Priapus in MerT 4.2034-37, citing tales in Ovid, the commentary tradition, and PF. January&#039;s statue of Priapus &quot;constitutes a kind of devotion to the obscene god who was the true patron saint of old age.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270013">
    <dcterms:title><![CDATA[Ovid&#039;s Shadow: Character and Characterization in Early Modern Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Ovid&#039;s &quot;Metamorphoses&quot; is crucial to the development of characterization in western European literature. Ovid complicates the conventional &quot;divided  consciousness&quot; of earlier characterizations through relativism, rationalization, rhetoric ,reduction,and legalism. Andreas Capellanus, Chrétien de Troyes, and Chaucer (examples drawn from TC) carry these techniques into the Renaissance and anticipate development of the novel.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274624">
    <dcterms:title><![CDATA[Ovid&#039;s Wand: The Brush of History and the Mirror of Ekphrasis.]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses Chaucer&#039;s works as part of a larger examination of the influence of Ovid&#039;s &quot;Metamorphoses,&quot; particularly his employment of ekphrasis--the use of poetry to<br />
portray other types of art.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270882">
    <dcterms:title><![CDATA[Ovide, Chaucer, et Gower]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Chaucer&#039;s uses of Ovid, specifically his use of the legend of Pyramus and Thisbe in LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261501">
    <dcterms:title><![CDATA[Ovidian Narrative Technique in Jean de Meun and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Though Ovid&#039;s influence on Jean de Meun and Chaucer has long been recognized as far as mythology and irony are concerned,Ovid&#039;s &quot;neoteric&quot; narrative techniques also provided models for the two writers; cf. Chaucer&#039;s BD, TC, and WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277426">
    <dcterms:title><![CDATA[Oxford History of Poetry in English. Volume 2, Medieval Poetry, 1100–1400.]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty-nine essays devoted to the examination of poetry from the end of Old English verse through the Ricardian poets, including an introduction by the editors. For nine essays that pertain to Chaucer, search for Oxford History of Poetry in English. Volume 2, Medieval Poetry, 1100–1400 under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266785">
    <dcterms:title><![CDATA[Oxford in English Literature: The Making, and Undoing, of &quot;The English Athens&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys depictions of and reactions to Oxford in English literature, from legends of St. Frideswide to modern fiction and screenplays.]]></dcterms:description>
    <dcterms:description><![CDATA[Treats MilT (pp. 19-26) as &quot;the first Oxford novel&quot;; its wealth  of details and Chaucer&#039;s sympathetic representation of Oxford clerks reflect the poet&#039;s familiarity with the medieval town and university.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273952">
    <dcterms:title><![CDATA[Oxford.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes late medieval literary production in the city of Oxford, characterizing it as a &quot;crossroads for intellectual work of all kinds,&quot; summarizing its library holdings, and surveying affiliated literature. Comments on Oxfordian influences on Chaucer and on his setting MilT in Oxford.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268913">
    <dcterms:title><![CDATA[Pace in Chaucer. The proverbe seith: He hasteth wel that wisely kan abyde (Melibee, 1054)]]></dcterms:title>
    <dcterms:description><![CDATA[Windeatt compares several of Chaucer&#039;s works and their sources to show that through variations in narrative pace and increased attention to pinpointing time, Chaucer makes something quite new. Considers PF, MLT, TC, KnT, and several of the tales in LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269882">
    <dcterms:title><![CDATA[Pacifism and English Literature: Minstrels of Peace]]></dcterms:title>
    <dcterms:description><![CDATA[White  explores the role of literature in &quot;peace studies,&quot; traces pacifist theory through the ages, and surveys pacifism in English literature from the Middle Ages to modern prose, poetry, and film. The chapter on the Middle Ages comments on Old English  tradition, Anglo-Norman tradition, and works by Gower, Lydgate, Hoccleve, and Chaucer (especially Mel and KnT).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265292">
    <dcterms:title><![CDATA[Pagan Consolation in &#039;The Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[KnT suggests the transitory nature of human life and offers as consolation the prospect of a heroic and noble death in the figure of Arcite.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264627">
    <dcterms:title><![CDATA[Paganism and Pagan Love in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The pagan references in TC perform two obvious functions:  they provide local color and they help to delineate character (as in Pandarus&#039; scorn of Troilus--who has just uttered a prayer to several pagan deities--calling him a &quot;mouses hert,&quot; III, 736). ]]></dcterms:description>
    <dcterms:description><![CDATA[But, more important, the failure of the love affair and the ultimate failure of the pagan gods to protect the lovers reveals the triviality and transcience of various aspects of human experience, while at the same time leaving the reader with an impression of the lasting value of these things.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273513">
    <dcterms:title><![CDATA[Pagans and Philosophers: The Problem of Paganism from Augustine to Leibniz.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the influence of paganism on Christian writers from the fifth century to the eighteenth century. Includes a chapter on entitled &quot;Langland and Chaucer: The Continuity of the Problem of Paganism&quot; (pp. 214–34).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267781">
    <dcterms:title><![CDATA[Pagans, Tartars, Moslems, and Jews in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Applying Habermas&#039;s notion of discourse ethics, Schildgen focuses on stories in CT that are &quot;set outside a Christian-dominated world.&quot; Individual chapters include discussions of KnT and SqT, MLT, WBT and FranT, PrT and MkT, and SNT. Chaucer&#039;s inclusion of these stories demonstrates his &quot;expansive narrative interest in the intellectual and cultural worlds outside Christianity&quot; (2). They are crucial to presenting not a single, totalizing worldview but rather an &quot;environment&quot; for the exchange and ultimately unresolved debate of alternative views and value systems (125).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261753">
    <dcterms:title><![CDATA[Pages from History: The Medieval Palace at Westminster as a Source for the Dreamer&#039;s Chamber in the &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The inspiration for the text of the painted chamber with its &quot;text and gloss&quot; in BD was St. Stephen&#039;s chapel with its lavishly painted walls.  Previous efforts to correlate Chaucer&#039;s text with particular illuminated manuscripts have been futile.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276011">
    <dcterms:title><![CDATA[Pain and Pleasure: Fictions of Erotic Violence from Ovid to Spenser.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Ovidian influence on &quot;the literary fantasy of erotic and poetic mastery&quot; draws on a &quot;model established in Ovid&#039;s &#039;Amores&#039;,&quot; tracing &quot;a &quot;shared heritage&quot; ranging from Andreas Capellanus, Chrétien de Troyes, Petrarch, Chaucer, and Ronsard to Spenser.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277476">
    <dcterms:title><![CDATA[Painful Pleasures: Sadomasochism in Medieval Cultures.]]></dcterms:title>
    <dcterms:description><![CDATA[Twelve essays by various authors, covering religious, courtly, and secular texts and contexts, with an introduction by the editor and a comprehensive index. For two essays that pertain to Chaucer, search for Painful Pleasures: Sadomasochism in Medieval Cultures under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268510">
    <dcterms:title><![CDATA[Painting Lions, Drawing Lines, Writing Lives: Male Authorship in the Lives of Christina Markyate, Margery Kempe, and Margaret Paston]]></dcterms:title>
    <dcterms:description><![CDATA[Passmore discusses three examples of &quot;written women,&quot; whose stories are &quot;filtered through the impressions and words of a male writer.&quot; The Wife of Bath&#039;s question about who painted the lion (WBP 3.692) indicates that women&#039;s writings, if unmediated by men, would be &quot;more accurate in their self-depictions.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268512">
    <dcterms:title><![CDATA[Painting Lions, Drawing Lines, Writing Lives: Male Authorship in the Lives of Christina Markyate, Margery Kempe, and Margaret Paston]]></dcterms:title>
    <dcterms:description><![CDATA[Passmore discusses three examples of &quot;written women,&quot; whose stories are &quot;filtered through the impressions and words of a male writer.&quot; The Wife of Bath&#039;s question about who painted the lion (WBP 3.692) indicates that women&#039;s writings, if unmediated by men, would be &quot;more accurate in their self-depictions.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>