<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/269704">
    <dcterms:title><![CDATA[Past, Present, Future Perfect: Paradigms of History in Medievalism Studies]]></dcterms:title>
    <dcterms:description><![CDATA[Dell contends that Brian Helgeland&#039;s film A Knight&#039;s Tale offers an alternative to capitalistic perpetual accomplishment, the model of desire that critics associate with the film. This alternative is courtly love, a paradigm drawn from the Lancelot of Chrétien de Troyes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263261">
    <dcterms:title><![CDATA[Pastiche as Irony in the Prioress&#039;s Prologue and Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The Prioress&#039;s childishness places her among the &quot;children of a hundred year&quot; who live in folly and are cursed by God.  Her tale is a pastiche, its ironies reflecting the teller&#039;s false humility and lack of charity even as she extols charity as a virtue.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Richard Rex, &quot;The Sins of Madame Eglentyne and Other Essays&quot; (Newark, NJ:  University of Delaware Press; Associated University Presses, 1995).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265554">
    <dcterms:title><![CDATA[Pastoral and the Politics of Plague in Machaut and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Reads BD and Machaut&#039;s &quot;Jugement dou Roy de Navarre&quot; as &quot;counter pastorals&quot;--works that both disturb the superficial idealization of pastoral poetry and replicate the social tension latent in the form, a social tension that also reflects contemporary effects of the plague.]]></dcterms:description>
    <dcterms:description><![CDATA[Machaut presents the plague directly in his work and obliquely explores its social impact.  Even more obliquely, BD confronts the social upheaval of the Black Death in the relations of the Black Knight and the narrator.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268223">
    <dcterms:title><![CDATA[Pastoral Histories: Utopia, Conquest, and the Wife of Bath&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Readers are skeptical of idealized pastoral space, yet it influences their view of the real. WBT begins with an allusion to a past, utopian dream world, a vision in tension with the Wife&#039;s mercantile concerns. Such utopian dreams are a resistence strategy of the colonized and the marginalized, namely the Welsh of Chaucer&#039;s time. By posing such resistence, WBT broadens sovereignty from the domestic to the national.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268746">
    <dcterms:title><![CDATA[Patch and Repair and Making Do in Manuscripts and Texts Associated with John Stow]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the omission of ABC from Chaucer&#039;s canon and what it reflects about the editorial habits of John Stow and Thomas Speght; religious-political pressures on editors of the time; and the reception of the Marian devotion of ABC in Protestant England.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262220">
    <dcterms:title><![CDATA[Pathos in Chaucer&#039;s Religious Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Through pathos, Chaucer evokes the audience&#039;s sympathy, thus transforming PrT, MLT, and ClT from mere tales of wonder or religious abstraction into convincing, dramatic treatments of the virtues they celebrate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269327">
    <dcterms:title><![CDATA[Paths of Long Study: Reading Chaucer and Christine de Pizan in Tandem]]></dcterms:title>
    <dcterms:description><![CDATA[Coletti compares HF with Christine de Pizan&#039;s &quot;Livre du chemin de long estude,&quot; exploring their differing comments on and responses to their shared literary culture. Through parallel narrative gestures, the two poets consider textual authority, reader responsiveness, political roles of their art, vernacularity, and gender. The early Tudor association of the works is indicated by their inclusion in Richard Pynson&#039;s Boke of Fame (1526).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265149">
    <dcterms:title><![CDATA[Patience and Her &#039;Hil of Sond&#039; in the &#039;Parliament of Fowls&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Dame Patience sitting &quot;upon an hil of sond&quot; (PF, 242-43) may come from the second recension of Deguileville&#039;s &quot;Pelerinage de la vie humaine&quot; where the persistence of an ant in reaching the top of a sand hill might be thought of as the active equivalent of patience (II. 10,096-242, English translation of 1426).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277099">
    <dcterms:title><![CDATA[Patience, Exemplarity, and the Affective Didactics of Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Traces the theme of patience in Middle English verse exempla amid the proliferation of exemplary works in late medieval England to examine the sociality of feeling within narratives of individual virtue,&quot; including a chapter pertaining to ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266902">
    <dcterms:title><![CDATA[Patient Mimesis: Griselda and the Clerk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Griselda&#039;s response to Walter at crucial points in the narrative--when he has &quot;killed&quot; her children and when he has banished her from the palace so he can take another &quot;wife&quot;--underscores his appalling behavior and demonstrates the ways outward patience is &quot;confoundingly deceptive.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276519">
    <dcterms:title><![CDATA[Patriarchy, Family, and Law in Gower&#039;s &quot;Confessio Amantis.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines several stories from Gower&#039;s &quot;Confessio Amantis&quot; to investigate the poet&#039;s &quot;thoughts about the limitations of patriarchy as an institution.&quot; Includes comparison of Gower&#039;s Tale of Constance with Chaucer&#039;s MLT, showing that the latter is more deterministic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275758">
    <dcterms:title><![CDATA[Patristic Exegesis in the Criticism of Medieval Literature: The Defense.]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplifies the wide-ranging importance of &quot;exegetical tradition&quot; in explicating images and allusions in medieval literature, drawing examples from &quot;Piers Plowman,&quot; from the Summoner&#039;s taste for garlic, onions, and leeks (GP 1.634), and from various echoes of the biblical Canticle of Canticles in the characterizations and relationship of Absolon and Alisoun in MilT. Argues that greater familiarity with such exegetical details is necessary for broader understanding the value of patristic criticism. See E. Talbot Donaldson, &quot; Patristic Exegesis in the Criticism of Medieval Literature: The Opposition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275757">
    <dcterms:title><![CDATA[Patristic Exegesis in the Criticism of Medieval Literature: The Opposition.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges patristic criticism for its claim that medieval literature is univocally concerned with asserting Christian &quot;caritas&quot; allegorically, arguing instead that poetry has a right to &quot;say what it means and mean what it says.&quot; Illustrates the pitfalls of the critical method by analyzing patristic or exegetical readings of the opening of &quot;Piers Plowman,&quot; &quot;Maiden in the Moor Lay,&quot; and NPT, maintaining in the case of the latter that its meaning derives from its rhetorical elaborations rather than despite them. See R. E. Kaske, &quot;The Defense.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274292">
    <dcterms:title><![CDATA[Patristic Exegesis: A Medieval Tom Sawyer.]]></dcterms:title>
    <dcterms:description><![CDATA[Parodies patristic criticism by reading Mark Twain&#039;s &quot;Tom Sawyer&quot; as an indictment of concupiscent love, drawing recurrent comparisons between the structure and imagery of Twain&#039;s novel and BD. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271887">
    <dcterms:title><![CDATA[Patronazgo literario en la Inglaterra medieval (ss. VII-XIV): Una visión panorámica]]></dcterms:title>
    <dcterms:description><![CDATA[Analysis of literary patronage from the Anglo-Saxon times until the end of the fourteenth century, when royal patronage was essential for authors such as Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262625">
    <dcterms:title><![CDATA[Patterns in Middle English Dialogues]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Middle English debate poems but touches on dialogue in CT, TC, and PF.]]></dcterms:description>
    <dcterms:description><![CDATA[Davenport also examines the function of complaint in TC, HF, LGW, PF, BD, Bo, and CT, especially in KnT, CYT, ClT, FranT, Mel, MerT, PardT, and WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272377">
    <dcterms:title><![CDATA[Patterns of Disruption in the Prioress&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Looks at Chaucer&#039;s use of &quot;two sententiae&quot; to explore the interplay between Chaucer&#039;s use of silences and pauses in PrT, and the reader&#039;s engagement with the story.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262221">
    <dcterms:title><![CDATA[Patterns of Feminine and Masculine Persuasion in the &#039;Melibee&#039; and the &#039;Parson&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Like MLT, SNT, ClT, and WBT, Mel employs a feminine style of persuasion.  Prudence &quot;demonstrates&quot; the values she counsels her husband to abide by, thus adding actions to arguments as means of persuasion and subverting the male hierarchy.  ParsT, by contrast, employs a masculine style of persuasion seen also in PardT and SumT.]]></dcterms:description>
    <dcterms:description><![CDATA[Male teachers such as the Parson--imbued with the authority of the institutions they represent--are not required to demonstrate the virtues jthey advocate or to identify with their audiences.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273815">
    <dcterms:title><![CDATA[Patterns of Love and Courtesy: Essays in Memory of C. S. Lewis.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes ten essays by various authors and a comprehensive index. For three essays that pertain to Chaucer, search for Patterns of Love and Courtesy under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263175">
    <dcterms:title><![CDATA[Patterns of Religious Narrative in the &quot;Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Treats problems of authority and artistic originality encountered by the medieval narrator of a religious story, and the solutions in CT.  Parallels between translating and producing the narrative appear in ClT, SNT, PrT, and Mel; subversion of the parallel and the role of the mediating narrator are seen in MLT, MkT, and PhyT; PardT and NPT provide a tension between inconclusiveness and resolution. ]]></dcterms:description>
    <dcterms:description><![CDATA[Deals with relations between fictional narrator (the pilgrim teller), the received matter (fictional, homiletic, dogmatic), narrative forms, and the pilgrim audience.  Some tales are transparent vehicles for orthodox dogma (the narrator as impersonal translator).  In some, &quot;the narrator&#039;s personality&quot; is the disturbing focus of attention, violating dogmatic coherence.  In MkT, &quot;literary interests&quot; overturn the &quot;religious.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270317">
    <dcterms:title><![CDATA[Paul and the Pardoner in Conrad&#039;s &#039;Victory&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Joseph Conrad&#039;s allusions to Chaucer and to the Bible, and argues that in the novel &quot;Victory&quot; Conrad expresses his &quot;sense of radical modern otherness.&quot; In Conrad&#039;s novel, &quot;Jones&#039;s sexual anomaly mirrors a spiritual malaise,&quot; as does the Pardoner&#039;s, and allusions to the Pardoner and his tale &quot;voice Conrad&#039;s balked desire for sacred meaning,&quot; even while &quot;parodic Pauline allusions&quot; make such yearning a &quot;mask for despair.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268570">
    <dcterms:title><![CDATA[Paul Bush and the Chaucer Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Paul Bush&#039;s dream vision, &quot;The Extripacion of Ignorancy,&quot; was influenced by Chaucerian models and coins the phrase &quot;lycour laureate&quot; to describe Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267009">
    <dcterms:title><![CDATA[Pawn Takes Knight&#039;s Queen : Playing with Chess in the Book of the Duchess]]></dcterms:title>
    <dcterms:description><![CDATA[In BD, Chaucer complicates the chess metaphor by adding the concept of gambling, which had become standard both in literary depiction and in actual play. By doing so, he adds an economic dimension, characterizing marriage relationships in the Middle Ages and Gaunt&#039;s own relationship with Duchess Blanche.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265955">
    <dcterms:title><![CDATA[Pears and Pregnancy in Chaucer&#039;s &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[May&#039;s request for pears in MerT indicates that she is pregnant, since medieval texts align the condition with a desire for unripe fruit.  Moreover, medieval medical treatises recommend pears for the treatment of stomach disroders, &quot;especially the nausea due to pregnancy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275121">
    <dcterms:title><![CDATA[Pedagogical Perseverance Past and Present: Chaucer Grades Grit.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the &quot;merits and drawbacks&quot; of teaching &quot;grit&quot; (i.e., the &quot;ability to work hard and diligently for long-term goals&quot;) as a pedagogical goal, comparing modern notions with Thomistic &quot;studiositas&quot; and &quot;curiositas&quot; and assessing three &quot;gritty students&quot; depicted in CT, their dedication to learning representing a moral range: the misguided Canon&#039;s Yeoman, the idealized clergeon of PrT, and the ambiguous Clerk. Maintains that modern pedagogical theorists are beginning to recognize a similar range.]]></dcterms:description>
</rdf:Description></rdf:RDF>