<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/268871">
    <dcterms:title><![CDATA[Parliament of Fowls, by G. Chaucer. [Toritachi no Kokkai, G. Chaucer [Saku]]]]></dcterms:title>
    <dcterms:description><![CDATA[Japanese translation of PF, based on Derek S. Brewer&#039;s 2nd edition (1972) and The Riverside Chaucer. Includes Japanese translation of Brewer&#039;s commentary.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266245">
    <dcterms:title><![CDATA[Parodic Animal Physicians from the Margins of Medieval Manuscripts]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses manuscript drolleries that represent physicians, commenting on the conventional clothing of Chaucer&#039;s Physician and the flask or jordan the Physician holds in the Ellesmere illumination.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266488">
    <dcterms:title><![CDATA[Parodic Elements and the Perception of Self in &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s use of parody and manipulation of narrative tradition to develop realistic characters or &quot;subjectivities&quot; in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275801">
    <dcterms:title><![CDATA[Parodies: An Anthology from Chaucer to Beerbohm--and After.]]></dcterms:title>
    <dcterms:description><![CDATA[A chronological and thematic anthology of literary parodies that opens with Pr-ThL, Th, and a section of Th-MelL in Middle English as examples of parody of romance, followed by an &quot;Imitation of Chaucer&quot; by Alexander Pope and &quot;A Clerk Ther Was of Cauntebrigge Also&quot; by W. W. Skeat.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262133">
    <dcterms:title><![CDATA[Parody : Critical Concepts Versus Literary Practices, Arstophanes to Sterne]]></dcterms:title>
    <dcterms:description><![CDATA[Proposing to assess &quot;how our language of parody...acts to manipulate the literature it is intended to describe,&quot; Dane explores the relation of genre to politics.  Part 4, &quot;The Classification of Medieval Parody,&quot; contains a chapter, &quot;The Eighteenth-Century Creation of Chaucerian Burlesque,&quot; that traces critical reception and influence of eighteenth-century notions on &quot;modern critical discussions of Chaucerian parody,&quot; focusing on Th and SqT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270604">
    <dcterms:title><![CDATA[Parody in Chaucer&#039;s Troilus and Criseyde [ Пародия в Поэме Д.Чосера &#039;Троил и Крессида ]]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268793">
    <dcterms:title><![CDATA[Parody in Early English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys parody and parodic devices in Middle English literature, arguing that, though there is much that is coarse in this literature, there is little actual parody outside of liturgical texts. Th is Chaucer&#039;s only true parody, although elsewhere (e.g., in portions of PF, MilT, NPT) he approaches parody while lampooning or satirizing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274532">
    <dcterms:title><![CDATA[Parody in the Pardoner&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in PardPT the Pardoner &quot;is parodying himself--deliberately magnifying his character and conduct in order to portray himself as a monster of evil&quot; exaggerating so that the other pilgrims will interpret him comically, as a &quot;charming rogue,&quot; while he obliquely confronts them with their own perfidy, much as the Old Man confronts the rioters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262964">
    <dcterms:title><![CDATA[Parodying Typology and the Mystery Plays in the Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Not mere humorous touches, Chaucer&#039;s complex parodies of the mystery plays of Noah and Herod cover &quot;biblical figures and events, the contemporary religious drama,...and exegesis, which lay behind the widespread use of typology.&quot;  MilT explodes in &quot;contradictory allusions:  Fall and Flood, Satan and Herod, God and Lucifer, Noah and Joseph, Uxor and Mary&quot;-- a &quot;conflation of typological references.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269014">
    <dcterms:title><![CDATA[Paroles d&#039;oiseaux, paroles oiseuses : Le discours amoureux et l&#039;arbitrage du cœur dans Le parlement des oiseaux]]></dcterms:title>
    <dcterms:description><![CDATA[Yvernault explores various levels of the love discourse in PF in relation to the roles played by reflection and silence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268312">
    <dcterms:title><![CDATA[Paroles et Silences dans la Littérature Anglaise au Moyen Age]]></dcterms:title>
    <dcterms:description><![CDATA[Includes two essays that pertain to Chaucer; search for Paroles et Silences under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267522">
    <dcterms:title><![CDATA[Paronomasia e Mito : La Nuclearit Genealogica come Discorso di Origine]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Rudyard Kipling&#039;s story &quot;The Wish House&quot; was influenced by WBP. Key words in Chaucer&#039;s text (&quot;daunger,&quot; &quot;chep&quot;) and connotations of the word &quot;ash&quot; (part of the surname of Kipling&#039;s leading character, Ashcroft) reveal that Chaucer&#039;s work constantly and consciously underlies &quot;The Wish House.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275581">
    <dcterms:title><![CDATA[Participatory Reading in Late-Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Draws on modern media studies to clarify practices of &quot;participatory reading&quot; in late medieval England, exploring how vernacular authors, texts, and manuscripts elicit and/or limit the agency of their readers who engage with texts in making meaning, often in embodied ways. Attends recurrently to Chaucer&#039;s works, including analysis of his request that Gower and Strode &quot;correcte&quot; TC (V.1858) as a &quot;closed access&quot; invitation to limited participation (similarly found in Adam). Also treats &quot;non-reading&quot; in TC and WBP, and assesses the placement of John Lydgate&#039;s &quot;The Siege of Thebes&quot; in CT in relation to KnT as evidence that Lydgate &quot;grants . . . license to nonlinear readings&quot; of the works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265566">
    <dcterms:title><![CDATA[Partitioned Fictions: The Meaning and Importance of Walls in Chaucer&#039;s Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[From the dream visions through CT, Chaucer never abandoned his fascination with walls and &quot;enclosed fictions.&quot;  On the one hand, walls function metaphorically, representing such forces as the rise and fall of civilization.  On the other, they create enclosed spaces corresponding to the enclosed fictions, or tales within tales, that define the structure and meaning of Chaucer&#039;s later works.  Lynch examines KnT, ManT, LGW, and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266319">
    <dcterms:title><![CDATA[Pasolini Requiem]]></dcterms:title>
    <dcterms:description><![CDATA[Includes an account of the making and reception of Pier Paolo Pasolini&#039;s films &quot;The Decameron&quot; (1971) and &quot;Canterbury Tales&quot; (1972).  In the latter, Pasolini plays Chaucer and includes seven &quot;Tales&quot;:  Merchant&#039;s,Franklin&#039;s, Cook&#039;s, Miller&#039;s &quot;Wife of Bath&#039;s, Reeve&#039;s and Summoner&#039;s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269083">
    <dcterms:title><![CDATA[Pasolini, Chaucer and Boccaccio : Two Medieval Texts and Their Translation to Film]]></dcterms:title>
    <dcterms:description><![CDATA[Blandeau studies Pasolini&#039;s cinematic trilogy of medieval tales: The Decameron, CT, and One Thousand and One Nights, focusing on the first two. Argues that Pasolini &quot;puts two semiotic systems in translation with each other, not so much to transmit Boccaccio&#039;s and Chaucer&#039;s texts to a 20th-century audience as to offer the latter a refraction of the masterpieces, altered by the filter of his own fantasy.&quot; Parallels Pasolini&#039;s innovations with Chaucer&#039;s and offers a three-column comparison of Chaucer&#039;s tales, Pasolini&#039;s projected order of tales, and the order of elements in the completed film.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271802">
    <dcterms:title><![CDATA[Passing the Book: The Scottish Shaping of Chaucer&#039;s Dream States in Bodleian Library, MS Arch. Selden B.24]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the Scottish reception of TC and PF by close study of the annotations in Bodleian Library, MS Arch. Selden B.24. Sketches a network of Scottish aristocratic readers of Chaucer&#039;s work and argues that political and ethical concerns were their main preoccupations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262523">
    <dcterms:title><![CDATA[Passion and Order in Chaucer&#039;s &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[LGWP promises something that the poem itself does not deliver--stories of faithful women and faithless men.  LGW is about how stories break out of prescribed patterns, how characters defy stereotypes, and how emotions and impulses escape the forms imposed on them.  LGW can be read as an examination of the complicated relationship between form and formlessness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273520">
    <dcterms:title><![CDATA[Passion and Precision: Collected Essays on English Poetry from Geoffrey Chaucer to Geoffrey Hill.]]></dcterms:title>
    <dcterms:description><![CDATA[Collection of published and previously unpublished studies of Chaucer and other writers, including the &quot;Pearl&quot;-poet, Hopkins, Yeats, Eliot, Jones, and Auden. Part 1, &quot;Medieval: Chaucer and the Gawain-Poet,&quot; includes essays on Bo, Form Age, KnT, and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271112">
    <dcterms:title><![CDATA[Passions, Signs, Thoughts and Facts: (Mis)Understanding the Mind in &#039;Troilus and Criseyde/Cressida&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Troilus&#039; lovesickness as a physical disorder and a cause of distorted perception in TC and Shakespeare&#039;s &quot;Troilus and Cressida.&quot; His condition is due to the &quot;often ambiguous correspondence&quot; of &quot;passions, signs, thoughts and facts.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268953">
    <dcterms:title><![CDATA[Past and Present in Chaucer&#039;s The Former Age : Boethian Translation or Late Medieval Primitivism?]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the late medieval traditions of the Wild Man and idealized primitivism, arguing that they are useful in understanding and interpreting Chaucer&#039;s additions to the Boethian materials in Form Age.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266885">
    <dcterms:title><![CDATA[Past Imagined, Future Retold: English Poetry, 1350-1450]]></dcterms:title>
    <dcterms:description><![CDATA[The poetry of the age demonstrates the construction and manipulation of history, while popular culture reflects the changing relations of ruler and laws. Thus &quot;Wynnere and Wasture&quot; treats the 1352 Statute of Treasons. Chaucer&#039;s MLT,a poetic revision of history, showed his successors (especially Lydgate) the means of assimilating ever-changing political situations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273014">
    <dcterms:title><![CDATA[Past Ownership: Evidence of Book Ownership by English Merchants in the Later Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Examines records of medieval book ownership by focusing on inscriptions in manuscripts and early printed books, wills, and other inventories of collections from fifteenth-century merchants and craftsmen. Features two listings of merchants with book collections that include works  by Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269225">
    <dcterms:title><![CDATA[Past Perfect: Will It Do To Say Anything More About Chaucer?]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on James Russell Lowell&#039;s essay &quot;Chaucer,&quot; published in North American Review 111 (1870): 155-99.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270407">
    <dcterms:title><![CDATA[Past Presences of Old Scots Abroad]]></dcterms:title>
    <dcterms:description><![CDATA[Describes several literary representations of Older Scots language; includes RvT because Older Scots and Northern English &quot;are not generally considered as distinct&quot; in the late medieval period. Commends Chaucer for his comprehensive &quot;imitation of regional speech, i.e. phonological, morphological, grammatical and lexical features, such as was not again to be achieved in comic representations of Scots abroad.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>