<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/264529">
    <dcterms:title><![CDATA[Rhetoric and Poetics in the &#039;Canterbury Tales&#039;: The Knight, the Squire, and the Franklin]]></dcterms:title>
    <dcterms:description><![CDATA[The ways these three pilgrims use four rhetorical devices--&quot;occupatio,&quot; &quot;brevitas,&quot; &quot;digressio,&quot; and &quot;descriptio&quot;--reveals their personalities.  The Knight&#039;s self-conscious narrative stance shows his pretensions:  his insensitivity in his use of rhetorical techniques reveals that he is not nearly as wise and high-minded a person as his GP portrait suggests. ]]></dcterms:description>
    <dcterms:description><![CDATA[The Squire&#039;s rhetorical errors are generally an intensification of his father&#039;s and show him to be a trivial, rather silly person.  FranT is rhetorically superior to KnT and SqT.  The Franklin&#039;s utilitarian use of rhetorical techniques provides an indirect critique of the Squire&#039;s, and to some degree the Knight&#039;s, social and rhetorical pretensions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272919">
    <dcterms:title><![CDATA[Rhetoric and Poetry in the &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the styles and rhetorical devices of FranT. Matching rhetoric to meaning, Chaucer&#039;s &quot;modulation of style&quot; in FranT helps to characterize the narrator and the major characters of the Tale and to guide readers&#039; understanding of the variable seriousness and comedy of its plot. Compares the narrator&#039;s style with that of Shakespeare&#039;s Polonius.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266384">
    <dcterms:title><![CDATA[Rhetoric and Reading in Late Medieval and Early Modern England: Lollardy, Plain Speech, and the Question of Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Lollard insistence on plain speech brought about a split between plain and literary language that persisted into the sixteenth century.  Harris considers the &quot;Pearl&quot; poet and the fifteenth-century reception of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262094">
    <dcterms:title><![CDATA[Rhetoric and Sophistry in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews recent rhetorical analyses of TC, examining how and how much &quot;rhetoric affects the composition&quot; of TC.  Kokonis first reviews the &quot;history and evolution of rhetoric&quot;; then shows how rhetoric became part of &quot;medieval aesthetic tradition,&quot; and in particular of the composition of TC; and finally evaluates how Chaucer, &quot;conveying the dominant spirit of his age, employs the dialectical aspects of this art, that is, rhetoric versus sophistry,&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264120">
    <dcterms:title><![CDATA[Rhetoric and the Rise of Public Poetry: The Career of Eustache Deschamps]]></dcterms:title>
    <dcterms:description><![CDATA[Ballad 285, in praise of Chaucer, draws from Brunetto Latini&#039;s definition of philosophy in his &quot;livres dou tresor.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274140">
    <dcterms:title><![CDATA[Rhetoric and the Unstable World.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores similarities between ambiguity and rhetorical invention in rhetorical tradition from Plato to the twenty-first century. Then discusses three examples of &quot;conscious exploitation of the potential of ambiguity&quot;: &quot;Sir Gawain and the Green Knight,&quot; CT, and a speech by Barak Obama (&quot;A More Perfect Union&quot;)--all of which present material that &quot;allows audiences to make choices.&quot; Comments on Chaucer&#039;s uses of &quot;controversia&quot; (ambiguity), generic hybridity, and rhetorical questions to compel ethical choices.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263030">
    <dcterms:title><![CDATA[Rhetoric and Vernacular Translation in the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval vernacular translation recovered the classical merger of rhetorical theory with hermeneutic practice.  Ancient and medieval contexts for translation are traced:  the practice of rhetorical theory in translation is illustrated in Chaucer&#039;s Bo, Form Age, and Walton&#039;s version of &quot;De consolatione.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264934">
    <dcterms:title><![CDATA[Rhetoric as Therapy: The Man in Black, Dorigen, and Chauntecleer]]></dcterms:title>
    <dcterms:description><![CDATA[Verbal action in Chaucer may take the form of a series of verbal encounters, as in BD; or a long monologue, as Dorigen&#039;s is and Chauntecleer&#039;s may as well be.  Chauntecleer talks himself out of fear of dreams; Dorigen talks herself out of suicide; the Man in Black realizes what White has meant to him; and the Dreamer learns that White is dead.  Rhetoric, creating shifting psychic distances, enables therapy to take effect.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264766">
    <dcterms:title><![CDATA[Rhetoric in Chaucer: Chaucer&#039;s Realization of Himself as Rhetor]]></dcterms:title>
    <dcterms:description><![CDATA[When Chaucer looked at old books, he not only saw the decorous verbal projections of medieval rhetorical archetypes, he heard the voice of a man like and unlike himself.  The idea/language model which &quot;rhetorica&quot;-turned-&quot;poetria&quot; had generated became again something like the speaker/language/audience model of earlier rhetoric.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271938">
    <dcterms:title><![CDATA[Rhetoric of Hypocrisy: The Pardoner&#039;s Reproduction in His Critics]]></dcterms:title>
    <dcterms:description><![CDATA[Posits the centrality of the Pardoner (rather than the marginality assumed by many critics) to CT. The &quot;confidence game&quot; of his narration parallels Chaucer&#039;s own rhetorical approach and informs those of his critics. Chaucer illustrates the self-negating nature of such rhetoric; the institutions (ecclesiastical, literary, academic) that enable and helpfully obscure narrative hypocrisy will inevitably be destabilized by that narrative.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264880">
    <dcterms:title><![CDATA[Rhetoric, Game, Morality, and Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Richard Lanham&#039;s game (&quot;play&quot;) theories contribute to an understanding of FranT and PardT.  The study of rhetoric as game emphasizes Chaucer&#039;s creative vision rather than a moral vision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261305">
    <dcterms:title><![CDATA[Rhetoric, Hermeneutics, and Translation in the Middle Ages: Academic Traditions and Vernacular Texts]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the history and theory of vernacular translation to its roots in Latin tradition, exploring classical translation theory as a product of the academic struggle between rhetoric and grammar (or hermeneutics).  Medieval translation, a kind of &quot;vernacular appropriation of academic discourse,&quot; was affected by the tradition of commentary that has as its goal the supplanting of authoritative texts.]]></dcterms:description>
    <dcterms:description><![CDATA[  Copeland examines the reflection of exegetical tendencies in a variety of Latin and vernacular commentaries, translations, and rhetorical handbooks.  Bo is as much a commentary as a translation; LGW (like Gower&#039;s Confessio Amantis) reflects more aggressive &quot;textual appropriation&quot; as part of a &quot;native literary tradition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266852">
    <dcterms:title><![CDATA[Rhetoric, Romance and the Structure of Authority in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Unlike other authors of chivalric romance of his time, Chaucer manipulates medieval theories of rhetoric to reveal how the relations of authority and discourse define both the pilgrim narrators and the characters in their tales. Treats WBPT, KnT, SqT, FranT, and Th.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270690">
    <dcterms:title><![CDATA[Rhetoric, Truth, and Lydgate&#039;s &#039;Troy Book&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Lydgate&#039;s allusions to HF are part of a larger effort to deny the accessibility of truth through language, which the author describes as a &quot;Chaucerian poetics of ambiguity and skepticism.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273634">
    <dcterms:title><![CDATA[Rhetorical &quot;Amplification&quot; and &quot;Abbreviation&quot; and the Structure of Medieval Narrative.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes structural devices found in the medieval &quot;artes poeticae,&quot; for example, those in treatises by Matthew of Vendome, Geoffrey of Vinsauf, and John of Garland, illustrating them with various literary works, including works by Chaucer. Discusses at greatest length the uses of amplification and abbreviation in PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263449">
    <dcterms:title><![CDATA[Rhetorical Circumstances and the Canterbury Storytelling]]></dcterms:title>
    <dcterms:description><![CDATA[Like Boccaccio&#039;s &quot;Decameron,&quot; CT reveals awareness of medieval principles of game and play articulated by Aristotle, Aquinas, and Albertano of Brescia.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266264">
    <dcterms:title><![CDATA[Rhetorical Ethos and the &#039;Nun&#039;s Priest&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The ethos of the Canterbury preachers reveals Chaucer&#039;s distinctive self-consciousness about medieval rhetorical issues.  The Pardoner&#039;s emphasis on pathos contrasts the Parson&#039;s emphasis on logos.  NPT is an act of self-display in which the narrator preaches against flattery to ingratiate himself.  The Host responds astutely to each, and, with the others, reveals Chaucer&#039;s anxiety about his own role.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264369">
    <dcterms:title><![CDATA[Rhetorical Perspectives in the &#039;General Prologue&#039; to the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The portraits of GP, which depict types, belong to the tradition of rhetorical description, not of satire.  Epideictic rhetoric provides for representation of virtue and vice alike and aims at the unity of perspective that we find in the descriptions of the pilgrims.  It still accommodates irony, as in the presentation of the Prioress.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268430">
    <dcterms:title><![CDATA[Rhetorical Portraiture: Finding the Subject Image and Memory in the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[A range of medieval literary portraits derive techniques from rhetorical memory devices and, in turn, shape notions of subjectivity. Mulligan considers Langland&#039;s Lady Meed, the Green Knight, Henryson&#039;s Cresseid, and various Chaucerian characters, from BD through CT, including some of the Ellesmere portraits.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277679">
    <dcterms:title><![CDATA[Rhetorical Word-Play in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys critics&#039; attention to Chaucer&#039;s word-play, and shows through multiple examples that such play is more common in his works than previously observed, especially his early works. Clarifies kinds of word-play in medieval rhetoric and literature--discussing &quot;adnominatio,&quot; &quot;traductio,&quot; &quot;rime riche,&quot; and double entendre (&quot;significatio&quot;), and focuses on Chaucer&#039;s emulations of such &quot;rhetorical trickery&quot; as it described in rhetorical handbooks and exemplified in French poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263631">
    <dcterms:title><![CDATA[Rhyme and Pronunciation: Some Studies of English Rhymes from Kyng Alisaundre to Skelton]]></dcterms:title>
    <dcterms:description><![CDATA[Deals with late ME pronunciation shown in rhymes of literary works written mostly in East Anglia and the Southeast Midlands, including London, 1300-1500.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276051">
    <dcterms:title><![CDATA[Rhyme Royal and Romance.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that rhyme royal was rarely used in Middle English romances because it &quot;mitigates against some of the aims and purposes&quot; of the genre, creating &quot;a self-consciousness about temporality that presses against the fairy-tale temporality of romance&quot; better served by octosyllabic couplets. Reviews and corrects descriptions of the development and functions of rhyme royal, and discusses Chaucer&#039;s dexterous uses of the stanza form in various works, especially TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265200">
    <dcterms:title><![CDATA[Rhyme Structure in Chaucer&#039;s &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies characteristic features of the rhymes and rhyme-elements in CT; a prolegomenon to an in-progress &quot;Rhyme Concordance to the Poetical Works of Geoffrey Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265484">
    <dcterms:title><![CDATA[Rhyme/Reason, Chaucer/Pope, Icon/Symbol]]></dcterms:title>
    <dcterms:description><![CDATA[Using the linguistic theories of Charles Pierce, Wimsatt proposes that &quot;the function of rhyme in Chaucer&#039;s poetry ... is to help organize the sounds to create a sign independent of a particular verbal sense&quot; (18).  Sound in poetry is carried in two registers, one a symbolic meaning and the other a &quot;phonetic icon.&quot;  Although undertaken by William K. Wimsatt, comparison of Chaucer&#039;s and Pope&#039;s rhyming is invalid because &quot;the standards that are alleged to hold for Pope&#039;s work do not fit Chaucer&#039;s&quot; (34).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262207">
    <dcterms:title><![CDATA[Rhythms of Rising and Falling in &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[CT contains risings and fallings, which occur naturally within the text in a variety of genres, tones and modes.  They show Chaucer&#039;s shift toward Italian-based humanism and away from the Christian tradition.  Wilhelm examines KnT, MilT, MLT, ClT, SNT, and NPT.]]></dcterms:description>
</rdf:Description></rdf:RDF>