<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/266548">
    <dcterms:title><![CDATA[Pedagogy, Violence, and the Subject of Music: Chaucer&#039;s &#039;Prioress&#039;s Tale&#039; and the Ideologies of &#039;Song&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Both ManT and PrT reflect the violence inherent in medieval teaching of music, especially evident in the role of tactile solmization--through the use of the Guidonian hand--in ecclesiastical tradition.  In both, Chaucer suggests that music fuels the violence of the &quot;narrative progression from pedagogy to martyrdom and massacre.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267630">
    <dcterms:title><![CDATA[Peirs Plouhman [sic] and the &#039;Formidable Array of Blackletter&#039; in the Early Nineteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses factors in Thomas Dunham Whitaker&#039;s decision to print Piers Plowman in 1813 in blackletter type, even though Chaucer had been printed in roman type nearly one hundred years earlier (by Urry) and anthologists of medieval poetry such as Joseph Ritson used roman type.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267006">
    <dcterms:title><![CDATA[Pèlerin de Prusse on the Astrolabe : Text and Translation of His Practique de astrolabe]]></dcterms:title>
    <dcterms:description><![CDATA[Facing-page (French-English) translation of the earliest French treatise on the astrolabe (1362), a work that shares the same source as Astr. The introduction assesses the relations among Pélerin&#039;s &quot;Practique,&quot; Astr, and their source text, John of Seville&#039;s twelfth-century &quot;Compositio et operatio astrolabii,&quot; a version of the lost text of the eighth-century Arabic writer Massahalla.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277481">
    <dcterms:title><![CDATA[Penance and Penitential Intent within Religious Themed Works of Chaucer.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores confession and intention (&quot;entente&quot;) in selected works of Chaucer: TC, LGWP, FrT, PardT, ParsT, and Ret, reading them as a &quot;progression&quot; that &quot;resembles the evolution of penitential concepts across the whole of the medieval period.&quot; Assesses several confessional works in Middle English that precede Chaucer, and considers the presence of pagan figures in his &quot;confessional&quot; works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265110">
    <dcterms:title><![CDATA[Penance and Poetry in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Pace&quot; Allen&#039;s and Sayce&#039;s ironies, dramatic and symbolic propriety for ParsT require penance, and predict, by the figure of the supper and the Host&#039;s unwitting use of Pauline imagery, an eschatological end.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263191">
    <dcterms:title><![CDATA[Penance as Poetry in the Late Fourteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Examines penance in poems of the &quot;Pearl&quot; MS, &quot;Piers Plowman,&quot; and CT.  Neither a collection of disparate stories nor an illustration of one theme, CT reflects the &quot;quarternity or reality&quot; in which penance, though not the chief theme, is yet a &quot;dynamic element.&quot;  GP, ParsT, and Ret are pivotal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264256">
    <dcterms:title><![CDATA[Penance, Irony, and Chaucer&#039;s Retraction]]></dcterms:title>
    <dcterms:description><![CDATA[Ret, an &quot;authorial form of self-elimination,&quot; is formally like irony; it is also a penance, which, also like irony, protects the author from adverse judgment.  Thus CT irony can be neatly exchanged for Ret penance.  Penance, however, a sacrament and thus a sign, &quot;partakes of semiotics,&quot; and semiotic analysis reveals that, whereas irony is &quot;metaphoric substitution,&quot; penance is &quot;metonymic association.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266010">
    <dcterms:title><![CDATA[Penitential Fictions, the Trial of Courtly Love, and the Emancipation of Story in the &#039;Legend of Good Women&#039; and the &#039;Confessio Amantis&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Penitential fictions in Chaucer&#039;s LGW and Gower&#039;s &quot;Confessio Amantis&quot; critique the amorous code in courtly literature.]]></dcterms:description>
    <dcterms:description><![CDATA[  In LGW, Chaucer uses Christian martyrdom to depict his heroine&#039;s amorous self-sacrifice as futile.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263027">
    <dcterms:title><![CDATA[Penitential Sermons, the Manciple, and the End of &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Wrongly used speech and counsels to silence in ManT should be read in terms of fourteenth-century Lenten sermons indicating the necessity of speech for the sacrament of penance.  Like SNT and CYT, ManT with its emphasis on transformation prepares readers for the spiritual change of ParsT and Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270860">
    <dcterms:title><![CDATA[Penitential Theology and Law at the Turn of the Fifteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Describes two late medieval penitential treatises--John Burough&#039;s &quot;Pupilla oculi&quot; (late fourteenth century) and William Lyndwood&#039;s &quot;Provinciale &quot;(early fifteenth century)--discussing their influence on Chaucer&#039;s understanding of the sacrament in ParsT and other works. Includes detailed summary/outlines of the two treatises (pp. 267-317). Reprinted in Kelly&#039;s Law and Religion in Chaucer&#039;s England (Burlington, Vt.: Ashgate, 2010).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276119">
    <dcterms:title><![CDATA[Penitentials to Poetry: The Literary Critique of Avarice in Fourteenth-Century England.]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses the &quot;challenge posed to Christian ethics due to the proliferation of urban markets and increased personal wealth in medieval England,&quot; examining various aspects of avarice in &quot;Piers Plowman&quot;; John Gower&#039;s &quot;Confessio Amantis&quot;; and CT, especially GP, WBP, PardP, and CYP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273770">
    <dcterms:title><![CDATA[Penmarc&#039;h et Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses the toponymical references to Penmark and Kayrrud in FranT (5.801 and 807), locating them specifically in Brittany, commenting on the local rockiness and military value, and noting an association with the story of Tristan and Iseult.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268386">
    <dcterms:title><![CDATA[Pennies, Pence, and Pans: Some Chaucerian Misreadings]]></dcterms:title>
    <dcterms:description><![CDATA[In RvT 3944 and FrT 1614, &quot;panne&quot; can be read as the plural of penny instead of pan or dish. In early fourteenth-century Type II London dialect, &quot;panne&quot; is a common variant of &quot;peni.&quot; In this light, Chaucer&#039;s authorship of fragments B and C of Rom ought to be reconsidered.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269510">
    <dcterms:title><![CDATA[People and Texts: Relationships in Medieval Literature : Studies Presented to Erik Kooper]]></dcterms:title>
    <dcterms:description><![CDATA[Fourteen essays by various writers and a bibliography of works published by Erik Kooper, presented to Kooper on the occasion of his sixty-fifth birthday. Topics range widely in English and French medieval traditions, with recurrent focus on romance. For two essays that pertain to Chaucer, search for People and Texts under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263972">
    <dcterms:title><![CDATA[Perception and Reality in the &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Views MilT in context of Maurice Merleau-Ponty&#039;s theories on perception, immanence, and transcendence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269382">
    <dcterms:title><![CDATA[Perception du Moyen Âge au cinéma Mises en scène des Canterbury Tales de Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Blandeau explores how three films capture the spirit if not the letter of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274208">
    <dcterms:title><![CDATA[Performance, Memory, and Oblivion in the &quot;Parson&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how memory functions in contrition and confession in ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268299">
    <dcterms:title><![CDATA[Performative Passivity and Fantasies of Masculinity in the Merchant&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The comedy in MerT is produced by May herself, whose &quot;conduct demonstrates that the feminine passivity upon which the masculine performance of agency depends is of course an act.&quot; May exposes the ridiculous nature of all claims to masculine authority, and hence Chaucer demonstrates the collaboration of men and women to make fictions of gender convincing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272403">
    <dcterms:title><![CDATA[Performing Academic Papers]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstration and performance, accepted aspects of classroom practice, can make academic conference presentations more memorable. Examples of performative practice include an enacted battle in KnT, created costumes illustrating the Wife of Bath&#039;s dress in GP and Grisilda&#039;s dress in ClT, two models of the shot-window in MilT (photographs included), and a debate on the anatomical location of Absolon&#039;s kiss.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268132">
    <dcterms:title><![CDATA[Performing Feminine Sanctity in Late Medieval England: Parish Guilds, Saints&#039; Plays, and the Second Nun&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Sanok assesses the urban performances of virgin martyr and Marian plays and the &quot;exemplarity&quot; of female saints&#039; legends, examining how authorities sought to contain or appropriate the subversive potential of female piety. Considers SNT and how the Nun reenacts Cecilia&#039;s performance of female preaching; SNP and SNT comment &quot;on the status of women within late medieval religious practice.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276940">
    <dcterms:title><![CDATA[Performing Generic Exhaustion: Implosive Households in Gavin Douglas&#039;s &quot;Palice of Honour.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the role of lists, themes of order and disorder, epistemology and poetics, and tensions between household economy and monetized mercantile accretion (chremastistics) in Douglas&#039;s &quot;Palice of Honour&quot; as a response to similar concerns in Chaucer&#039;s HF and his other dream poems. Argues that, especially in Venus&#039;s mirror, Douglas exceeds Chaucer&#039;s concern with excessiveness and destabilizes the &quot;genre of faculty allegory.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272400">
    <dcterms:title><![CDATA[Performing Lydgate&#039;s Broken-Backed Meter]]></dcterms:title>
    <dcterms:description><![CDATA[Lydgate&#039;s meter differs from Chaucer&#039;s for several reasons, but their differences have been exaggerated by editorial practices. When performed, the &quot;Lydgate&quot; or &quot;broken-backed&quot; line emerges as an aesthetic choice. The broken-backed line characterizes Lydgate&#039;s Host as an authoritative figure in the Prologue to the &quot;Siege of Thebes.&quot; The &quot;Siege&quot; is a literary experiment in imitation of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275047">
    <dcterms:title><![CDATA[Performing Manuscript Culture: Poetry, Materiality, and Authorship in Thomas Hoccleve&#039;s &quot;Regement of Princes.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Examines questions of autobiography, authorship, legacy, and the &quot;Fürstenspiegel&quot; genre in Thomas Hoccleve&#039;s &quot;Regiment of Princes,&quot; with attention to its manuscript presentations and to its images of Chaucer and of Hoccleve himself, discussing the &quot;minor differences&quot; in the versions of the Chaucer portraits and their &quot;major consequences for the text-image relation.&quot; Includes comments on the putative accuracy of Hoccleve&#039;s portrait of Chaucer, other portraits of him, and a &quot;clear reference&quot; to the Wife of Bath in Hoccleve&#039;s poem. Based on the author&#039;s 2014 dissertation, Freie Universität.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269469">
    <dcterms:title><![CDATA[Performing Polity: Women and Agency in the Anglo-French Tradition, 1385-1620]]></dcterms:title>
    <dcterms:description><![CDATA[Collette surveys literary and historical evidence that women in the Anglo-French tradition played the role of mediator, i.e., someone who &quot;negotiates, bridges, and unites differences&quot;--evidence of the &quot;ideology and practice of women&#039;s agency&quot; in the late Middle Ages and early modern period. Discusses works by Christine de Pizan, Philippe de Mézières, Nicolas Oresme, Lydgate, and Chaucer, plus several cycle plays, Griselda narratives, treatises on the Virgin, and accounts of Henry VIII&#039;s attempts to divorce Catherine of Aragon.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275681">
    <dcterms:title><![CDATA[Performing Prudence in &quot;Sawles Warde&quot; and Chaucer&#039;s &quot;Tale of Melibee.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the performative aspects of Prudence as an allegorical figure in &quot;Sawles Warde,&quot; where she functions as a dramatic &quot;expositor,&quot; and in Mel, where she offers &quot;commentary . . . on reading, misreading, and the limits of wisdom when it is severed from the divine,&quot; dimly understood by Melibee as audience. Comments on Prudence as one of the traditional four cardinal virtues and on the Host&#039;s response to Mel.]]></dcterms:description>
</rdf:Description></rdf:RDF>