<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/265778">
    <dcterms:title><![CDATA[Preceptive Portraiture: Chaucerian and Spenserian &#039;Effictio&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Not mere ornament, the &quot;effictio,&quot;or physical and spiritual portrait, had become a fixed literary convention by the time of Geoffrey of Vinsauf.  Bice analyzes Chaucerian characters from GP, KnT, NPT, and MilT, as well as from &quot;Sir Gawain and the Green Knight&quot; and Spenser.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263531">
    <dcterms:title><![CDATA[Prejudice and Chaucer&#039;s Prioress]]></dcterms:title>
    <dcterms:description><![CDATA[The Prioress&#039;s synthesis of elements from the legends of the martyred schoolboy suggests that she is complying with papal bulls that prohibit accusing Jews of kidnapping and ritual murders, but muances of PrT, and association with Hugh of Lincoln, indicate the popular view of the Jews&#039; culpability.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272471">
    <dcterms:title><![CDATA[Premodern Media and Networks of Transmission in the &#039;Man of Law&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that MLT represents cultural and textual transmission through a network of premodern media: voices, texts, bodies, culture, human actions, and nonhuman forces---media which represent an alternative to the hegemonic, institutional, and linear &quot;translatio studii et imperii.&quot; The Christian culture Constance transmits flickers from noise to signal, indicating medieval cultural mobility, and suggesting that &quot;mediation&quot; is a condition of life. Also suggests that transmission is a paradigm for the structure and poetic project of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268618">
    <dcterms:title><![CDATA[Premodern Places: Calais to Surinam, Chaucer to Aphra Behn]]></dcterms:title>
    <dcterms:description><![CDATA[Wallace contemplates and reconstructs historical understanding of several locations, using visual and verbal texts to recapture perspectives of medieval and early modern witnesses or visitors.]]></dcterms:description>
    <dcterms:description><![CDATA[Explores Calais as an English outpost and Flanders as its neighbor, drawing upon Th, ShT, and PardT, as well as works by Deschamps, Hakluyt, and others. Also considers the early modern reception of Dante at Wells in Somerset, medieval slave trade in Genoa, Italian humanist imagining of the Canary Isles as the classical Fortunate Isles, and the letters of Héoise and Abélard and the works of Aphra Behn in the colonial representation of Surinam.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266916">
    <dcterms:title><![CDATA[Presence, Absence, and Difference: Reception and Deception in The Franklin&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;horizon of expectations&quot; (a concept derived from Hans Jauss) of FranT is never fulfilled by the narrative. Although the Franklin strives to meet social and generic expectations, he leaves his Tale open-ended--Chaucer&#039;s means of encouraging his readers to seek beyond the limited assumptions of his narrator.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268109">
    <dcterms:title><![CDATA[Present Panic in The Merchant&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Burger explores how MerT scrutinizes developments in class and gender identities and valuations of marital love and subjectivity that grew out of twelfth-century Gregorian Reform. In direct contrast to WBPT (and in response to ClT), the Merchant &quot;resolutely &#039;others&#039; his material by emphasizing distance from his life story and by exoticizing it with an Italian knightly setting.&quot; January&#039;s household and garden embody the &quot;hegemonic masculine subject,&quot; while May&#039;s actions enact subjectivity and the desire to revise the traditional order, sadistically remaking it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263402">
    <dcterms:title><![CDATA[Present State of Chaucer and Arthurian Studies]]></dcterms:title>
    <dcterms:description><![CDATA[A report of the main papers read both at the Fourth International Chaucer Congress in York, England (1984), and at the Fourteenth International Arthurian Congress in Rennes, France (1984).]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261224">
    <dcterms:title><![CDATA[Presenting Chaucer as Author]]></dcterms:title>
    <dcterms:description><![CDATA[English respect for vernacular authors anticipates the Renaissance.  Chaucer created for our language and its heritage a conception of culturally significant authority based on textual correctness.  More than other Middle English poets, Chaucer asserts the value of the author&#039;s ipsissima verba in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275971">
    <dcterms:title><![CDATA[Presenting Chaucer to the Reader: Printing the &quot;Canterbury Tales&quot; in England, 1477-1830.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the history of handpress printing of CT, analyzing 140 editions, with particular attention to paratextual material as indication of Chaucer&#039;s reception and the &quot;abundance of mediation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268351">
    <dcterms:title><![CDATA[Presenting the Text: Pictorial Tradition in Fifteenth-Century Manuscripts of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on the ordinatio and implications of illustrations to CT (apart from those in the Ellesmere MS): the &quot;generic &#039;author&#039; image&quot; found in MS Lansdowne 851, MS Bodley 686, and the &quot;Devonshire&quot; MS; the portrait of the Friar in MS Rawlinson poet. 223; the &quot;possibly Ellesmere-derived&quot; pilgrims in Cambridge University Library Gg.4.27 and the &quot;Oxford&quot; MS; and the sins and virtues in CUL Gg.4.27. Generally, these illustrations convey to the reader a sense of oral delivery.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270586">
    <dcterms:title><![CDATA[Press Variants in John Stow&#039;s Chaucer (1561) and the Text of &#039;Adam Scriveyn&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses variations in copies of Stow&#039;s edition of Chaucer and suggests that copies with woodcuts may have been printed before those without and that Stow himself may have been involved in in-house corrections to the text, particularly that of Adam. Includes a table of variants.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275972">
    <dcterms:title><![CDATA[Pressed Flowers: Burne-Jones, &quot;The Romaunt of the Rose,&quot; and the Kelmscott Chaucer.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes Edward Burne-Jones&#039;s illustrations of Rom in the Kelmscott Chaucer, arguing that they--and especially the final illustration of the poem--epitomize many of Burne-Jones&#039;s experiences with and attitudes toward books, book history, and the &quot;romance&quot; of books.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275077">
    <dcterms:title><![CDATA[Pressed for Space: The Effects of Justification and the Printing Process on Fifteenth-Century Orthography.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes parallel sections of text from William Caxton&#039;s two editions of CT set by the same compositor--Mel and ParsT, NPT and ManT--comparing practices in prose tales and verse tales, and also comparing the practices of the compositor of Richard Pynson&#039;s &quot;Reynard the Fox.&quot; The tabulated data show that the compositors either broke words over lines, abbreviated words, or altered spaces between words in order to achieve justification; they did not adjust spelling in order to do so.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269278">
    <dcterms:title><![CDATA[Prestucturing Reception Through Intertextuality in The Wife of Bath&#039;s Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Establishes a link between the &quot;preamble&quot; in WBP and the sermon genre.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276922">
    <dcterms:title><![CDATA[Presumption and Despair: The Figure of Bernard in Middle English Imaginative Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues for using &quot;a Bernardine anagogical lens&quot; to assess theological depth in CT and &quot;Piers Plowman,&quot; and traces allusions and references to Bernard of Clairvaux in &quot;Piers,&quot; ParsT, and the &quot;Prick of Conscience..&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267727">
    <dcterms:title><![CDATA[Presumptive Sodomy and Its Exclusions]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that sodomy in medieval literature must be understood as an &quot;unspecified plurality of acts and intentions,&quot; which includes women as well as men. Female sodomy occupies the &quot;silent place in the discourse&quot; that must be acknowledged in modern discussion to understand more fully the range and nuances of medieval gender anxieties and to avoid complicity with medieval misogyny. Lochrie considers sodomy in ParsT, Pauline tradition, theological commentary, and Alan of Lille.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267062">
    <dcterms:title><![CDATA[Pretty Woman : The Romance of the Fair Unknown, Feminism, and Contemporary Romantic Comedy]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the 1990 film Pretty Woman is understandable as an analogue to medieval Fair Unknown romances and that, like WBT, the film affirms and inverts the ideology of romance through self-conscious nostalgia.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262032">
    <dcterms:title><![CDATA[Priapus and the &#039;Parlement of Foulys&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer emphasizes the phallic deity Priapus as a figure of frustration in PF.  He does not try to abolish or deify the sexual passion Priapus represents.  Priapus and the noble suitors may represent unproductive extremes of a more balanced position regarding love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269085">
    <dcterms:title><![CDATA[Prime-time Drama : Canterbury Tales for the Small Screen]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys efforts to popularize CT through media (television, audio recordings, stage, and animation), commenting most extensively on the 2003 BBC television series.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270283">
    <dcterms:title><![CDATA[Prince Arthur and Bottom the Weaver: The Renaissance Dream of the Fairy Queen]]></dcterms:title>
    <dcterms:description><![CDATA[In adapting the outdated motif of the medieval romance of dreaming of a fairy queen from Chaucer&#039;s Thop, Spenser blends naiveté and sophistication.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269097">
    <dcterms:title><![CDATA[Print Culture and the Medieval Author: Chaucer, Lydgate, and Their Books, 1473-1557]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzing the impact of print on already-existing ideas of authorship, Gillespie argues &quot;that the medieval author was a mechanism for ordering the new meanings of texts in print,&quot; even when the understanding of that author was a result, or &quot;function,&quot; of interpretation of the author&#039;s texts. With its multiple narrators, CT exemplifies this function, for it illustrates how the concept of authority can both control and proliferate meaning. Chapter 3, &quot;Assembling Chaucer&#039;s Texts in Print, 1517 to 1532,&quot; considers TC and PF along with 1526 and 1532 editions of Chaucer&#039;s works as examples of the &quot;author function&quot; within print culture. Also discusses HF and Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267615">
    <dcterms:title><![CDATA[Printed Witnesses : A Study of Geoffrey Chaucer&#039;s Printed Editions, 1476-1598]]></dcterms:title>
    <dcterms:description><![CDATA[Although Caxton, Thynne, and Speght use comparable techniques to establish Chaucer&#039;s works by collating, restoring, and emending texts, their editions reveal various and individual methods.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264715">
    <dcterms:title><![CDATA[Printer&#039;s Copy for Stow&#039;s &#039;Chaucer&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Though only three of the twenty-four poems attributed to the poet in John Stowe&#039;s &quot;Chaucer&quot; of 1561 are now accepted as genuine, comparative study of the mss used reveals remarkable substantive accuracy in the text of this early edition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267224">
    <dcterms:title><![CDATA[Printers&#039; Copy : MS Bodley 638 and the Parliament of Fowls]]></dcterms:title>
    <dcterms:description><![CDATA[Manuscripts used as copy by printers are scarce. An examination of MS Bodley 638 reveals both codicological and textual evidence that discloses the printers&#039; intentions. The 1530 edition of PF, used by Robert Copland, was established from this manuscript instead of from another printed edition. Copland&#039;s own descriptive verses give us insight into the condition of the manuscript when he received it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269195">
    <dcterms:title><![CDATA[Printing Power: Selling Lydgate, Gower, and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Explores why Chaucer was more marketable than either Gower or Lydgate in sixteenth-century England: Chaucer&#039;s variety, flexibility, and malleability made him more adaptable to various publics and therefore more attractive to early printers than other writers were.]]></dcterms:description>
</rdf:Description></rdf:RDF>