<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/263884">
    <dcterms:title><![CDATA[Pope&#039;s &#039;Rape of the Lock&#039; and Chaucer&#039;s &#039;Parson&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares &quot;Rape&quot; 1.67-70, with ParsT I, 944-45, to show that Pope uses the Parson&#039;s &quot;remedie agayns Leccherie.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270252">
    <dcterms:title><![CDATA[Pope&#039;s Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Pope&#039;s copy of Chaucer--the Hartleby copy of Speght&#039;s 1598 edition of Chaucer&#039;s &quot;Works&quot;--gives evidence of Pope&#039;s plan for reworking HF into his &quot;Temple of Fame.&quot; Elsewhere in the volume, Pope&#039;s reader&#039;s marks are light.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277367">
    <dcterms:title><![CDATA[Pope&#039;s Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the traditional provenance of CT manuscript Oxford, Trinity College, MS 49, detaching it from Saffron Walden, and asserting that it was not donated to Trinity College by Sir Thomas Pope, founder of the college, but given by Thomas Unton, as is recorded in Trinity&#039;s Library Benefactors&#039; Book. Summarizes Unton&#039;s life and book ownership and explores broader implications of this ownership.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264524">
    <dcterms:title><![CDATA[Pope&#039;s Copy of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Pope&#039;s copy of Chaucer, with his own youthful annotations, still survives.  And though his marking of the text shows careful perusal of it (especially Rom), these early annotations are ultimately not very revealing of Pope&#039;s maturer feelings about Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266786">
    <dcterms:title><![CDATA[Popular Chaucer and the Academy]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that the steady growth in understanding of the historical context of Chaucer&#039;s poetry has coexisted with a tendency, on the part of scholars as well as popularizers, to view Chaucer as the jovial poet of &quot;merrie England.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269705">
    <dcterms:title><![CDATA[Popular Chaucer: The BBC&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Forni lauds the BBC&#039;s modernized television adaptation of CT (2003) for its appeal to a wide audience while retaining fidelity to the original texts; for its intertextuality; and for its highlighting of aspects of Chaucer that appeal to contemporary audiences.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270953">
    <dcterms:title><![CDATA[Popular Tales and Fictions: Their Migrations and Transformations]]></dcterms:title>
    <dcterms:description><![CDATA[Reprints Clouston&#039;s two-volume work (1887), with its original Introduction and Index, commentary on the brass steed of SqT, and chapter entitled &quot;Chaucer&#039;s &#039;Pardoner&#039;s Tale&#039;&quot; (pp. 490-511) that traces the sources and analogues of the Tale. Adds an &quot;Introduction to this Edition&quot; (pp. vii-xxxi) in which Goldberg describes Clouston&#039;s career, including his contributions to Chaucer studies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268431">
    <dcterms:title><![CDATA[Popularizing Chaucer in the Nineteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Charles Cowden Clarke, Charles Knight, and John Saunders were the most effective popularizers of Chaucer for the common reader in nineteenth-century England. These individuals translated Chaucer into modern English and bowdlerized his language in order not to offend their audiences. The works of these writers probably kept Chaucer alive in school and university curricula, leading the way for twentieth-century editors, readers, and translators.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265378">
    <dcterms:title><![CDATA[Portrait of a Lady: Blaunche and the Descriptive Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s portrait of Blaunche in BD is not a mere rhetorical exercise in the tradition of Vinsauf&#039;s prescriptions but &quot;a serious attempt&quot; to reform the &quot;descriptio feminae,&quot; exploring identity by examining the relation between mind and body.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265749">
    <dcterms:title><![CDATA[Portrait of a Poet]]></dcterms:title>
    <dcterms:description><![CDATA[Similarities between Thomas Hoccleve&#039;s portrait of Chaucer in &quot;Regement of Princes&quot; and the Ellesmere portrait do not confirm speculations that the artists were drawing from life.]]></dcterms:description>
    <dcterms:description><![CDATA[Rather, similarities in subject matter between &quot;Regement&quot; and Mel, where the Ellesmere portrait appears, indicate that the figure is an icon of good counsel, a major theme of Mel.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268010">
    <dcterms:title><![CDATA[Positively Medieval: Teaching as a Missionary Activity]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the problems and rewards of teaching Chaucer to Orthodox Jewish women.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267392">
    <dcterms:title><![CDATA[Postcolonial Chaucer and the Virtual Jew]]></dcterms:title>
    <dcterms:description><![CDATA[Because Jews were expelled from England in 1290, their presence in English art and literature is &quot;virtual.&quot; Tomasch surveys virtual Jews in the Holkham Bible Picture Book, the Luttrell Psalter, and Chaucer&#039;s CT (PrT, the Old Man of PardT, ParsT, and Samson in MkT). Such depictions represent Jews in a series of &quot;isotopic variants,&quot; good and bad, which constitute an &quot;allosemitism&quot; that generated postcolonial anxiety among Christians and led to suffering by actual Jews.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275738">
    <dcterms:title><![CDATA[Postcolonialisms: Caribbean Rereadings of Medieval English Discourse.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Old and Middle English language and literature in light of postcolonial conditions and theories, particularly those of Caribbean studies, considering issues of cultural contact, vernacularity, competing discourses, power, transgression, and the social and psychological reflexes of the colonized. Includes numerous references to Chaucer and his works, with commentary on masquerade, carnival, and authority in CT, along with extended analysis of the Pardoner as a &quot;discontinuous identity&quot; and a trickster disclosed, with PardPT as &quot;discourse of sliding genres,&quot; shifting lexicons, and &quot;Chaucerian gap-filled contemplation of finite humanity&quot; that &quot;deconstructs&quot; the Pardoner&#039;s &quot;bogus authority.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276933">
    <dcterms:title><![CDATA[Postmodern Poetics and Queer Medievalisms: Time Mechanics.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes eight essays by various authors, an Introduction by the editor, and a comprehensive Index. For three essays that pertain to Chaucer, search for Postmodern Poetics and Queer Medievalisms: Time Mechanics under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262293">
    <dcterms:title><![CDATA[Postmodernism in Medieval England: Chaucer, Pynchon, Joyce, and the Poetics of Fission]]></dcterms:title>
    <dcterms:description><![CDATA[Reading CT through the lens of the postmodern text suggests certain Derridean and Bakhtinian parallels, illuminating the polysemic and polyphonic characteristics of Chaucer&#039;s text. Like the postmodernists, Chaucer tends to question authority; to transgress textual, social, and political boundaries; and to destablize hierarchies of all kinds.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277108">
    <dcterms:title><![CDATA[Postpandemic Trauma in Geoffrey Chaucer&#039;s &quot;The Franklin&#039;s Tale..&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that FranT should be added to &quot;the Chaucerian pandemic canon&quot; for its depiction of pandemic trauma and recovery.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261693">
    <dcterms:title><![CDATA[Postscript]]></dcterms:title>
    <dcterms:description><![CDATA[WBP dramatizes the emergence of the author in the late Middle Ages as a self actively engaged in creating meaning and in resisting meaning imposed on it by other discourses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266148">
    <dcterms:title><![CDATA[Postscript: An Internet Pilgrimage]]></dcterms:title>
    <dcterms:description><![CDATA[The electronic &quot;preprints&quot; of &quot;Teaching Chaucer in the Nineties&quot; revealed both the extent to which professors and students have become electronically literate and large disparities in the availability of electronic resources.  Ironically, no papers suggested the internet or WWW as teaching tools; most papers did not stimulate online discussion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261440">
    <dcterms:title><![CDATA[Postscript: The Equatorie of the Planetis as a Translator&#039;s Manuscript]]></dcterms:title>
    <dcterms:description><![CDATA[Numerous Latin insertions on the manuscript suggest that the scribe was translating from a Latin exemplar into English.  His notations indicate that he was identifying problems with translation and guarding against them when creating his final version.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270743">
    <dcterms:title><![CDATA[Postscript/Postlude/Afterword]]></dcterms:title>
    <dcterms:description><![CDATA[Summary commentary on the collection of essays, with remarks on maternal grief in PrT, ClT, MLT, and other works, especially Lydgate&#039;s &quot;A Lamentacioun of Our Lady Maria.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265631">
    <dcterms:title><![CDATA[Potency and Power: Chaucer&#039;s Aristocrats and Their Linguistic Superiority]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s primary representatives of aristocracy, the Knight and the Squire, reveal differing assumptions about acting within their social stations.  Both exhibit confidence through linguistic security, but the Knight&#039;s epic reality and narrative control contrast with the Squire&#039;s &quot;rambling,&quot; fantastic diversions, which lack coherence and order.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267251">
    <dcterms:title><![CDATA[Pouvoir et autorit dans The Legend of Good Women de Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Preface by André Crépin. In his representation of gender in its relation to power in LGW, Chaucer departs from the conservative social and literary norms of his age while appearing to adhere to those norms. Chaucer undercuts his overt capitulation to ideological norms through subtle semiotic and rhetorical devices. These devices are evident in his adaptations of various sources, including Ovid, Virgil, and Boccaccio.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269006">
    <dcterms:title><![CDATA[Poverty and Plenty : Chaucer&#039;s Povre Wydwe and Her Gentil Cok]]></dcterms:title>
    <dcterms:description><![CDATA[The widow&#039;s poverty in NPT indicates the cloistered clergy&#039;s failure to practice humility, poverty, and charity. Altering his source materials, Chaucer highlights the contrast between the lifestyle of the Prioress and that of the widow and creates links between the Nun&#039;s Priest, on the one hand, and Chauntecleer, the Monk, and the Friar, on the other. Reference to the &quot;Peasants&#039; Revolt&quot; and the ambiguous moral of NPT reflect clerical insensitivity to the impact of extravagance on the impoverished.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270106">
    <dcterms:title><![CDATA[Poverty in Late Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Describes various kinds of poverty in England in the second half of the fourteenth century, summarizing economic and social factors and assessing their representation in various works of literature in English and Latin across a range of genres. Hazell considers four broad categories of poverty (aristocratic, urban, rural, and apostolic), plus the charitable responsibilities of the Church, the state, and individuals. Examines PrT among depictions of urban poverty; ClT and NPT, among those of rural poverty. Also comments on the Monk, Nun&#039;s Priest, and Parson in the discussion of apostolic poverty and on the Plowman as a figure of &quot;moral integrity and social responsibility.&quot; Other tales are mentioned throughout.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273157">
    <dcterms:title><![CDATA[Poverty, Property, and the Self in the Late Middle Ages: The Case of Chaucer&#039;s Griselda]]></dcterms:title>
    <dcterms:description><![CDATA[Uses &quot;thing theory&quot; to posit that having things conferred subjectivity upon the holder in the Middle Ages. Applies this premise as a way to read Walter&#039;s treatment of Griselda in ClT, arguing that &quot;Poor Griselda&#039;s selfless submission grows out of a selflessness that appears to be very literally self-less.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>