<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/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:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268098">
    <dcterms:title><![CDATA[Palamon&#039;s Appeal of Treason in the Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Legal diction and references in KnT reflect concern in the 1380s with the growing influence of the Court of Chivalry and the revival of trial by battle.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267742">
    <dcterms:title><![CDATA[Pale Faces : Race, Religion, and Affect in Chaucer&#039;s Texts and Their Readers]]></dcterms:title>
    <dcterms:description><![CDATA[Dinshaw considers her autobiographical &quot;queer diasporic experience&quot; as a &quot;pale Indian&quot; in light of the representations of conversion, otherness, and paleness in MLT and the generally unnoticed presence of Indian influences on early English studies. She offers her meditative analysis to encourage other medievalists to challenge the assumptions that underlie &quot;rationalistic, post-Enlightenment&quot; notions of temporality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263093">
    <dcterms:title><![CDATA[Paleography and Scribes of Shared Training]]></dcterms:title>
    <dcterms:description><![CDATA[New manuscript data reaffirm Ramsey&#039;s earlier argument that different scribes copied the Hengwrt and Ellesmere MSS of CT; M. L. Samuels is wrong in arguing that a single scribe copied these manuscripts and MS Corpus Christi 198.  Handwriting alone is not a reliable criterion for distinguishing among scribal hands:  different scribes could imitate each others&#039;s hand, as in MS Glasgow Hunterian U.1.1., though scribal &quot;schools&quot; may be distinguished.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271422">
    <dcterms:title><![CDATA[Palimpsestic Philomela: Reinscription in Chaucer&#039;s &#039;Legend of Philomela&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer rewrites his source in Ovid &quot;Metamaphorses&quot; 6 to show the strong bond between the sisters who provide solace to each other.  The same kind of bond is shown among the women who support the raped maiden in the WBT. The meaning of rape in medieval England sheds light on the relations between Tereus and Pandion and has implications for Pandarus&#039; role in TC in arranging Troilus&#039; affair with Criseyde.  Chaucer&#039;s obliteration of Procne&#039;s revenge allows him to stress the mutually sustaining bond of the sisters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271419">
    <dcterms:title><![CDATA[Palimpsests and the Literary Imagination of Medieval England: Collected Essays]]></dcterms:title>
    <dcterms:description><![CDATA[This collection dedicated to André Crépin contains an introduction and eleven essays on different aspects of palimpsests, both in the technical and literary senses of the word. For three essays that pertain to Chaucer, search for  Palimpsests and the Literary Imagination of Medieval England under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274194">
    <dcterms:title><![CDATA[Palindromic Structure in the &quot;Pardoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explains palindromes and palindromic structures, rooted in classical and exegetical traditions, here exemplified by means of Augustine of Dacia&#039;s couplet. Then argues that PardT &quot;features palinodromically arranged characters, settings, and words that progress toward a central space,&quot; evident in multilingual anagogical auditory puns. Also suggests that John Dryden imitated Chaucer&#039;s palindromes, and that the medieval poet knew Greek.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262092">
    <dcterms:title><![CDATA[Pallas Athena and the Threefold Choice in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the allegorical tradition of the Judgment of Paris from Fulgentius through Bersuire and other fourteenth-century writers (especially sources of the Troilus story) and examines Chaucer&#039;s use of and allusions to the myth.  The journey of Troilus unifies TC through the three choices or experiences: wealth, lust, and contemplation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274760">
    <dcterms:title><![CDATA[Palmer and &quot;corpus mysticum&quot; in the &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Points out that a reference to a palmer in GP recalls both the pilgrimage for one&#039;s own penance and the vicarious pilgrimage. Argues that the system of pardon and vicarious pilgrimage are burlesqued in PardPT and SumT. Suggests that the idea of &quot;corpus mysticum&quot; also &quot;provides a narrative and thematic framework&quot; of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266469">
    <dcterms:title><![CDATA[Palpable Fictions: Religious Relics, Populist Rhetoric, and the English Reformation]]></dcterms:title>
    <dcterms:description><![CDATA[Although false relics often figured in polemics, relics were popular through the early Reformation.  Attitudes vary less than has been assumed among such writers as Guibert de Nogent, Lorenzo Valla, Wycliffe, Chaucer, Foxe, Latimer, Tyndale, and later Renaissance writers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267161">
    <dcterms:title><![CDATA[Panchronia, czyli jezykoznawstwo bez Synchronii ( Panchrony, or Lingustics without Synchrony )]]></dcterms:title>
    <dcterms:description><![CDATA[Cognitive linguistic analysis of Chaucer&#039;s uses of &quot;meten&quot; and &quot;dremen,&quot; arguing that the two words are not synonymous as is usually assumed. In Polish.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276782">
    <dcterms:title><![CDATA[Pandarus a Devil?]]></dcterms:title>
    <dcterms:description><![CDATA[Considers manuscripts, editions, translations, and contemporary examples to explore Troilus&#039;s use of &quot;devel&quot; in TC 1.623, documenting variety in reading it as direct address, expletive, or exclamation. Shows that Troilus is not calling Pandarus a devil despite D. W. Robertson&#039;s ascertain that he was.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264047">
    <dcterms:title><![CDATA[Pandarus and Criseyde: The Motif of Incest in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[On Pandarus&#039;s relationship to Criseyde.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276359">
    <dcterms:title><![CDATA[Pandarus and Procne.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores why Chaucer alludes to the &quot;story of Procne and Philomena&quot; at the awakening of Pandarus in Book 2 of TC even though he does not cite the tale when the &quot;nightingale sings to Criseyde&quot; later in the Book, commenting on readers&#039; expectations and on possibly analogous references to nightingales and swallows in Boccaccio&#039;s Filostrato, Dante&#039;s Commendia, and bestiaries. Suggests several ways of reading Chaucer&#039;s bird allusions (and lack thereof) in TC, and closes with a coda on the preponderance of Chaucer&#039;s generally commonplace or realistic uses of flora and fauna.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273219">
    <dcterms:title><![CDATA[Pandarus and the Fate of Tantalus]]></dcterms:title>
    <dcterms:description><![CDATA[Sketches the obscurities of Pandarus&#039;s character and motivations in TC, and, examining patterns of imagery and allusion, argues that he is both a voyeur and a Tantalus-figure whose &quot;punishment [is] to endure for ever the agonies of unfulfilled anticipation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275717">
    <dcterms:title><![CDATA[Pandarus and Troilus&#039;s Bromance: Male Bonding, Sodomy, and Incest in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies the meanings and applications of the term &quot;bromance&quot; and applies it to Troilus and Pandarus&#039;s relationship in TC, &quot;wherein an incestuous act between Pandarus and Criseyde is among the many ways the poem utilizes heterosexuality to counter the homoerotic implications between the two men.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261459">
    <dcterms:title><![CDATA[Pandarus as Davus]]></dcterms:title>
    <dcterms:description><![CDATA[The characterization of Pandarus resembles that of Davus, the slave who appears as a crafty go-between in Terence, Matthew of Vendome, and Horace.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272201">
    <dcterms:title><![CDATA[Pandarus as Lover: &#039;A Joly Wo&#039; or &#039;Loves Shotes Keene&#039;?]]></dcterms:title>
    <dcterms:description><![CDATA[Characterizes Pandarus as &quot;a public figure, a chameleon, a consummate actor&quot; who plays various roles, including that of &quot;unrequited lover.&quot; His unusual moment of private lovesickness at the beginning of Book 2 is Chaucer&#039;s device for underscoring the power of love in the poem and bridging the &quot;serialized narrative&quot; of the five-book structure of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263066">
    <dcterms:title><![CDATA[Pandarus, Poetry, and Healing]]></dcterms:title>
    <dcterms:description><![CDATA[The language of love as illness is a significant Chaucerian addition to his source, the &quot;Filostrato.&quot;  In Pandarus&#039;s first conversation with Troilus, allusions to Boethius and Ovid &quot;define the depth and complexity of Pandarus&#039;s role as physician,&quot; since both authors use medical metaphors.  Chaucer &quot;measures the curative powers of poetry against the medicines of philosophy, Ovidian oblivion against Boethian remembrance.&quot;  Medical discourse is inadequate to respond to the fullness of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261456">
    <dcterms:title><![CDATA[Pandarus: Process and Pleasure in Artistic Creativity]]></dcterms:title>
    <dcterms:description><![CDATA[As a figure of the writer, Pandarus embodies the perverse nature of artist as observer.  Having completed his narrative in the consummation scene, Pandarus must invent another tale to make &quot;wommen unto men to comen&quot; and to survive as an author.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262019">
    <dcterms:title><![CDATA[Pandarus&#039; Cushion and the &#039;pluma Sardanapalli&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The cushion Pandarus fetches Troilus in Book III of TC linked for Chaucer&#039;s audience &quot;Luxuria&quot; and &quot;Fortuna.&quot;  Juvenal, Boccaccio, and contemporary iconography associated cushions with Sardanapalus, and thence with beds and lust.  The analogy of Troilus&#039; bed with that of Boethius connected the cushion with Fortune. ]]></dcterms:description>
    <dcterms:description><![CDATA[Seven illustrations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270012">
    <dcterms:title><![CDATA[Pandarus&#039;s &#039;Grete Emprise&#039;: Narration and Subjectivity in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Modarelli examines the characterization of Pandarus in TC, particularly the way he acts &quot;with the agency of an author&quot;--one in a &quot;trinity&quot; of authors that includes the narrator and the poet. Using Tzvetan Todorov&#039;s formulation of &quot;constructive reading,&quot; Modarelli argues that the character of Pandarus &quot;has no psychological determinism&quot; and thus is open to multiple readings, depending on the &quot;socio-cultural attitudes and beliefs of various readers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261797">
    <dcterms:title><![CDATA[Pandarus&#039;s &#039;Haselwode&#039;: A Comparative Approach to a Chaucerian Puzzle]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Hazel&quot; imagery in medieval and Renaissance literature suggests a meaning for Chaucer&#039;s &quot;haselwode&quot; quite different from the traditional interpretations--one rooted in poetic convention (erotic imagery) and social custom (going a-nutting).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261769">
    <dcterms:title><![CDATA[Pandarus&#039;s &#039;Unthrift&#039; and the Problem of Desire in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts Chaucer&#039;s depictions of desire in TC with source passages in Boccaccio&#039;s &quot;Filostrato&quot; and with a passage in Dante&#039;s &quot;Purgatorio.&quot;  Chaucer&#039;s depiction is based on the &quot;impoverished&quot; view of desire presented in Boethius&#039;s &quot;Consolation&quot; and &quot;Roman de la Rose,&quot; limiting the moral and erotic range of desire in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263319">
    <dcterms:title><![CDATA[Pandarus&#039;s &#039;Vertue of Corones Tweyne&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The crux may be explained by reference to Canticles 3:11 and the medieval commentators (e.g., William Durandus in his &quot;Rationale divinorum officiorum&quot;).  The first crown is Criseyde&#039;s virtue; the second is the pity that Pandarus asks her to show Troilus.]]></dcterms:description>
</rdf:Description></rdf:RDF>