<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/272076">
    <dcterms:title><![CDATA[Panel Discussion [Chaucer the love poet]]]></dcterms:title>
    <dcterms:description><![CDATA[Panelists include Norman E. Eliason, Robert E. Kaske, Edmund Reiss, and James I. Wimsatt, exchanging views on Chaucer&#039;s love poetry and fielding questions from the audience at a symposium held at the University of Georgia, 1971. Recurrent concern with &quot;exegetical&quot; criticism of Chaucer and love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277002">
    <dcterms:title><![CDATA[Paper in Medieval England: From Pulp to Fiction.]]></dcterms:title>
    <dcterms:description><![CDATA[Rethinks the uses and &quot;affordances&quot; of paper in medieval England and on the Continent, i.e., its potentialities, manifestations, and material significations in book production and other cultural practices. Opens with an explanation of how Chaucer associates paper with Dido in LGW, 1198-202, changing his source in Virgil, and evoking emotion and majesty. Chapter 5, &quot;Paper in the Medieval Literary Imagination,&quot; focuses in part on the &quot;interplay&quot; of TC and its sources insofar as &quot;their comments on the material properties of writing-supports is evidence of paper&#039;s wider cultural acceptance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267927">
    <dcterms:title><![CDATA[Papers Briquet: The Charles-MoÎse Briquet Archive in Geneva]]></dcterms:title>
    <dcterms:description><![CDATA[Mossser describes a watermark archive and a plan to mount the collection&#039;s data on the WWW, exemplifying the utility of the archive by identifying watermarks (and dates) of the paper stock in three manuscripts of CT: Cambridge MS Dd.4.24 [Dd], British Library Egerton MS 2864 [En3], and Bodleian Library MS Rawlinson C.86 [Ra4].]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267120">
    <dcterms:title><![CDATA[Papers from the Fifth Annual General Conference on Medievalism 1990]]></dcterms:title>
    <dcterms:description><![CDATA[Thirty-four essays--half in German, half in English--by various authors. Topics range from general discussions of the reception of the Middle Ages in traditional art and literature to medievalism in architecture and modern and postmodern film, television, comic books, and popular music. For three essays that pertain t Chaucer, search for Papers from the Fifth Annual General Conference on Medievalism 1990 under Alterative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265809">
    <dcterms:title><![CDATA[Papers from the IVth International Conference of the Spanish Society for Medieval Language and Literature [SELIM]]]></dcterms:title>
    <dcterms:description><![CDATA[Thirty literary and linguistic essays from the SELIM IV conference (September 1991), on topics ranging from &quot;Beowulf&quot; to Robin Hood and including discussions of lyrics, drama, dream visions, and various individual works and themes. For essays that pertain to Chaucer, search for Papers from the IVth International Conference of the Spanish Society for Medieval Language and Literature under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265836">
    <dcterms:title><![CDATA[Papers from the VIIth International Conference of SELIM]]></dcterms:title>
    <dcterms:description><![CDATA[For five essays that pertain to Chaucer,  of this volume.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270502">
    <dcterms:title><![CDATA[Papers on the &quot;Canterbury Tales&quot;: From the 1989 NEH Chaucer Institute, Northern State University, Aberdeen, South Dakota]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty-one papers on CT by various authors. For individual essays, search for Papers on the &quot;Canterbury Tales&quot;: From the 1989 NEH Chaucer Institute under Alternative Title. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262783">
    <dcterms:title><![CDATA[Paradigmatic and Syntagmatic Elaboration, and Middle English Poetic Style]]></dcterms:title>
    <dcterms:description><![CDATA[The style of PF weights the syntagmatic axis of discourse, whereas &quot;Pearl&quot; weights the paradigmatic axis.  This difference is revealed in the way each poem treats lexical innovation, the relation between syntax and verse form, and the relation between sign and signifaction.  This last feature suggests an epistemological difference between Chaucer and alliterative poets.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264637">
    <dcterms:title><![CDATA[Paradigms of Personality: Chaucer&#039;s &#039;Troilus and Criseyde&#039; and the Traditions of Ovid and Dante]]></dcterms:title>
    <dcterms:description><![CDATA[TC can be read with two distinct poetic traditions in mind:  the serious, Platonic ideal represented by Dante, which desires absolute truth, purposeful behavior, and an immutable self; and the Ovidian rhetorical ideal which upholds behavior shaped by circumstances and the role-playing self.  Chaucer uses his love-story paradigmatically to show how each kind of self acts and reacts. ]]></dcterms:description>
    <dcterms:description><![CDATA[He sets in motion four possible ways to organize the world: Troilus, the unself-conscious, serious, committed self; Criseyde, the unself-conscious, role-playing self; Pandarus,the self-conscious role player; and the narrator, the self-conscious, serious self; and then shows the consequences each one has, both for the individual and those around him.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264276">
    <dcterms:title><![CDATA[Paradis Stood Formed in Hire Yen: Courtly Love and Chaucer&#039;s Re-Vision of Dante]]></dcterms:title>
    <dcterms:description><![CDATA[The double ending of TC reconciles issues about love raised in the story.  Chaucer has made Troilus a lover in the tradition of courtly love but has also used Dante&#039;s &quot;Paradiso&quot; for his version of heaven.  The pagan setting illuminates Christian values.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274053">
    <dcterms:title><![CDATA[Paradise Walk.]]></dcterms:title>
    <dcterms:description><![CDATA[A novel of suspense mystery in which historian Lizzie Manning follows the steps of the Wife of Bath and learns that Alisoun and her descendants had impact on English art and on the location of the bones of Thomas Becket.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270931">
    <dcterms:title><![CDATA[Paradox of Love in Chaucer&#039;s &quot;Troilus&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads TC as a &quot;jubilant celebration of earthly love&quot; which &quot;testifies to the accessibility of Christian salvation by means of human love&quot; (xi).  Earthly love and divine love are balanced in the poem, with Troilus regarding Criseyde as the &quot;Blessed Virgin&quot; and Pandarus viewing her as a figure of inconstancy. The narrator maintains both perspectives, and the epilogue  presents a &quot;Negative Negation of Love.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275788">
    <dcterms:title><![CDATA[Paradoxical Patterns in Chaucer&#039;s &quot;Troilus&quot;: An Explanation of the Palinode.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys critical opinion about the relation of the palinode in TC to the body of the poem, and then focuses on the characters&#039; various views of love and the narrator&#039;s &quot;ironic mask.&quot; In contrast with the &quot;pragmatic limitations&quot; of Pandarus&#039;s view of love and the &quot;fixed, yet fluctuating&quot; view of Criseyde, tensions between Boethian love and courtly love characterize Troilus&#039;s outlook. These tensions are &quot;resolved in the palinode as it recapitulates the paradoxical patterns or ironic crosscurrents&quot; by which the narrator &quot;structures his implicitly cosmic vision of love.&quot; Written as the author&#039;s Ph.D. dissertation; includes an index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262039">
    <dcterms:title><![CDATA[Parallel Journeys in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The juxtaposed stories of Aeneas and the dreamer are linked by parallel plots, by the segmentation of narrative units, and by verbal elements like the repetition of key rhymes.  These correspondences and those of two other journeys interwoven into the parallel scheme are aligned in an effort to clarify and enrich current understanding of the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267878">
    <dcterms:title><![CDATA[Parallel Manuscript Readings in the CT Retraction and Edward of Norwich&#039;s Master of Game]]></dcterms:title>
    <dcterms:description><![CDATA[Not all manuscripts of Ret read LGW as &quot;xxv&quot; tales (other numbers are &quot;xix&quot; and &quot;xx&quot;). Edward of Norwich (ca. 1406) uses &quot;xxv&quot; and refers to the work as the &quot;Goode Wymmen,&quot; not, as is more common, the book of &quot;ladies.&quot; He may have read Ret, in which Chaucer uses the word &quot;women&quot;; family connections would account for his access to the works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266336">
    <dcterms:title><![CDATA[Paraphs and Patterns: Two Early Forms of the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Categorizes patterns of paragraphing in the &quot;landmark&quot; manuscripts of CT as &quot;sparse&quot; or &quot;dense,&quot; arguing that the patterns emphasize the &quot;florilegium qualities&quot; of CT and focusing on uses of paraphs in SqT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261518">
    <dcterms:title><![CDATA[Parataxis and Hypotaxis: A Review of Some Terms Used for Old English Syntax]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the idea that poetic variation demands syntactical parallelism, offering KnT 2779 as a counterexample.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268305">
    <dcterms:title><![CDATA[Paratextual Chaucerianism: Naturalizing French Texts in Early Printed Verse]]></dcterms:title>
    <dcterms:description><![CDATA[In the course of &quot;Englishing&quot; certain foreign texts, some early printers used Chaucerian &quot;paratexts,&quot; evoking Chaucer&#039;s works, allusions, or style in efforts to bridge the gap between one literary period and the next and to express nostalgia for a late-medieval mode.]]></dcterms:description>
    <dcterms:description><![CDATA[Such paratexts served as advertising &quot;book jackets,&quot; authorizing the work and creating the impression of &quot;literary continuity across time and across the boundaries and nation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271203">
    <dcterms:title><![CDATA[Parchment Ethics: A Statement of More Than Modest Concern]]></dcterms:title>
    <dcterms:description><![CDATA[Reports the finds of &quot;Dr. Lollius&quot; who reputedly discovered, through DNA analysis of &quot;covertly obtained slivers of parchment and vellum,&quot; that several extant Chaucer manuscript are &quot;human skin.&quot; The pseudo-report is offered to provoke contemplation of the slaughter of animals for the purpose of preserving human culture.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268829">
    <dcterms:title><![CDATA[Parcours initiatique d&#039;un jeune truand : Beryn]]></dcterms:title>
    <dcterms:description><![CDATA[The Tale of Beryn shows that bargaining is essential in the mercantile world. It uses the &quot;biter bit&quot; pattern and--unusual in CT--reflects the moral growth of an individual. First shown misbehaving like the rioters in PardT, Beryn undergoes a true initiation process.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277339">
    <dcterms:title><![CDATA[Pardoner&#039;s Tale by Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat indicates that Bak&#039;s artwork illustrations of PardT were &quot;Issued in portfolio&quot; with &quot;285 copies printed.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277337">
    <dcterms:title><![CDATA[Pardoner&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275650">
    <dcterms:title><![CDATA[Parental and Filial Obligation in Late Medieval Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;bond between parent and child in late medieval England was deeply felt and often conflicted as demonstrated by the literature of the period,&quot; including MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266035">
    <dcterms:title><![CDATA[Parents and Children in &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that &quot;the parent-child relation is one of the central motifs&quot; of CT.  Focusses on MkT, MLT, PrT, PhyT, and ClT to argue that Chaucer explores not only the power relations between parent and child but those parallel relations as well between human beings and the relations of the human with the supernatural.  Chaucer depicts life as a matter of sufferance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269479">
    <dcterms:title><![CDATA[Parliament and Literature in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the intersection between the &quot;growth of parliament&quot; and the &quot;development of poetry&quot; from c.1376 to 1414, focusing on depictions of parliaments in literature. Poets such as Langland, Gower, and Chaucer had &quot;extensive parliamentary connections,&quot; and their works represent &quot;anxieties about voice, representation, and the vision of a cohesive community in a fractured world.&quot; Giancarlo examines parliamentary records and commentaries, complaint literature, Gower&#039;s &quot;Mirour de l&#039;Omme&quot; and &quot;Cronica Tripertita,&quot; Langland&#039;s &quot;Piers Plowman,&quot; and works by Chaucer. PF is a &quot;unique representation of parliamentary practice,&quot; GP and Mel reflect the language and technique of parliaments, and CT is structured in accord with the &quot;mediational dynamics&quot; of parliamentarism.]]></dcterms:description>
</rdf:Description></rdf:RDF>