<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/266383">
    <dcterms:title><![CDATA[Ricardian &#039;Trouthe&#039;: A Legal Perspective]]></dcterms:title>
    <dcterms:description><![CDATA[Documents the medieval legal understanding of &quot;trouthe&quot; as an aspect of personal &quot;oathworthiness&quot; rather than of verifiability of facts; argues that this early sense obtains in MLT 2.630 even though it was fast becoming an archaic sense.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269333">
    <dcterms:title><![CDATA[Ricardian Dreamwork: Chaucer, Cupid, and Loyal Lovers]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;political erotics&quot; of LGWP, especially the G version, assessing how Cupid&#039;s treatment of the narrator and Alceste&#039;s intercession reflect political conditions, concepts of tyranny, and notions of loyalty and fidelity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264554">
    <dcterms:title><![CDATA[Ricardian Poetics and Late Medieval Cultural Pluriformity: The Significance of Pathos in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The pathetic tales must been seen in connection with the Ricardian emphasis on emotionalism and the commonality of Christ&#039;s human nature and man&#039;s.  The aim of the pathetic voice is not to make any sweeping statement of human experience but to provide one possible response to it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272573">
    <dcterms:title><![CDATA[Ricardian Poetry: Chaucer, Gower, Langland, and the &quot;Gawain&quot; Poet]]></dcterms:title>
    <dcterms:description><![CDATA[Proposes the label &quot;Ricardian&quot; for the late fourteenth-century period of English literature and &quot;looks at the four chief poets of the time . . . as a group,&quot; identifying their common stylistic features, rooted in earlier English tradition of storytelling; their shared preference for narrative, exempla, narrative &quot;pointing,&quot; and frame narratives; and their &quot;essentially unheroic&quot; treatment of human beings, &quot;sometimes humorous and quite unmonumental.&quot; Despite their regional dialects, the lack of a written standard, and their divergent literary receptions, the four poets and their works constitute a period &quot;in the full literary sense&quot; of the term. Considers all of Chaucer&#039;s major poems, Gower&#039;s English poetry, and the works of Langland and the &quot;Gawain&quot; poet. Opens with a comparison with Ricardian visual art and concludes with a discussion of the poets&#039; uses of simile.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266427">
    <dcterms:title><![CDATA[Ricardian Romance? Critiques and Vindications]]></dcterms:title>
    <dcterms:description><![CDATA[The romances of Chaucer and of the &quot;Gawain&quot; poet are similar in treating the genre as a decaying or decadent form.  Chaucer treats the genre and its traditional themes lightly, at times parodically, while the &quot;Gawain&quot; poet seeks to redeem the genre and its ideals.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269837">
    <dcterms:title><![CDATA[Rich Man, Poor Man: Polarities of Privilege]]></dcterms:title>
    <dcterms:description><![CDATA[Explores ambiguities of wealth and poverty in CT in light of contemporaneous reality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270700">
    <dcterms:title><![CDATA[Rich Words: Gower&#039;s &#039;Rime Riche&#039; in Dramatic Action]]></dcterms:title>
    <dcterms:description><![CDATA[Zarins assesses Gower&#039;s and Chaucer&#039;s uses of rime riche (&quot;in which rhyme patterns appear identical but diverge in meaning&quot;), focusing on instances in which the device lends seriousness (or mock seriousness) in characters&#039; dialogue. Appends a partial list of instances from &quot;Confessio Amantis&quot; and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263398">
    <dcterms:title><![CDATA[Richard de Thorpe&#039;s Astronomical Kalendar and the Luxury Book Trade at York]]></dcterms:title>
    <dcterms:description><![CDATA[The Richard Thorpe section of the Pincus Codex may be the lost equatorium, or astronomical kalendar, listed in the library catalogue of the York Austin friars.  An inscription to Penelope Thompson and disregard of manuscript duplications suggest that the codex was commissioned not for scientific purposes but as a calligraphy album for a young Yorkshire resident.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264413">
    <dcterms:title><![CDATA[Richard Hole and the &#039;Merchant&#039;s&#039; and &#039;Squire&#039;s Tales&#039;: an Unrecognized Eighteenth-Century (1797) Contribution to Source and Analogue Study]]></dcterms:title>
    <dcterms:description><![CDATA[Hole&#039;s &quot;Remarks on the Arabians Nights&#039; Entertainments&quot; contains speculations about the sources of the pear-tree motif and the magical objects in the two tales.  While many of his guesses are without substantiation, he does suggest a pear-tree analogue to be found in the &quot;Bahar-i Danish&quot; of Inayat Allah Kanbu (1608-71).  A likely source for the healing-sword motif is Pliny&#039;s &quot;Natural History.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266454">
    <dcterms:title><![CDATA[Richard II]]></dcterms:title>
    <dcterms:description><![CDATA[A biography that assesses Richard II, the quality of his rule, and the events of his reign.  Uses Shakespeare&#039;s play as a point of departure and argues that Richard&#039;s accomplishments and excesses resulted in large part from the fusion of &quot;exercise of power&quot; with a narcissistic &quot;sense of being.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[References to Chaucer are few, concentrated in a section on the status of the arts in the court of Richard, who favored visual over verbal arts as a means of image-making.  Chaucer had little or no royal patronage from Richard.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267126">
    <dcterms:title><![CDATA[Richard II : The Art of Kingship]]></dcterms:title>
    <dcterms:description><![CDATA[Eleven essays by various authors and an introduction by Goodman. Topics include Richard&#039;s reign as presented in chronicles, the nature and quality of his rule, and his relations with the following: his councils, the Church, the higher nobility, London, trades, other countries, and the literary and visual arts. In chapter 2, &quot;Richard and the Literary Arts&quot; (pp. 231-53), Patricia J. Eberle discusses the image of Richard in works dedicated to him.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265837">
    <dcterms:title><![CDATA[Richard II and the Vocabulary of Kingship]]></dcterms:title>
    <dcterms:description><![CDATA[In 1397, Richard II&#039;s rule became more tyrannical, a fact reflected, some chroniclers report, in more elaborate forms of address that were more appropriate for God than for a king.]]></dcterms:description>
    <dcterms:description><![CDATA[Saul examines common petitions and letters for evidence of this change and analyzes the reason for it.]]></dcterms:description>
    <dcterms:description><![CDATA[Some of the new forms were influenced by Continental usage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262374">
    <dcterms:title><![CDATA[Richard II&#039;s Knights: Chivalry and Patronage]]></dcterms:title>
    <dcterms:description><![CDATA[Richard II&#039;s devotion to chivalric ideals may be seen in his conferring of knighthood, especially membership in the Order of the Garter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262837">
    <dcterms:title><![CDATA[Richard III&#039;s Books: A Collection of Romances and Old Testament Stories: 4 &#039;Palamon and Arcite&#039; and &#039;Griselda&#039; by Geoffrey Chaucer/5 The Collection and its Purp]]></dcterms:title>
    <dcterms:description><![CDATA[Describes an anthology (now Longleat MS 257, fifteenth century) owned by Richard, duke of Gloucester, which contains KnT and ClT, Lydgate&#039;s &quot;Siege of Thebes,&quot; &quot;Ipomedon,&quot; and Old Testament stories--all emphasizing the concepts of order and loyalty.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267232">
    <dcterms:title><![CDATA[Richard Pynson and the Stigma of the Chaucerian Apocrypha]]></dcterms:title>
    <dcterms:description><![CDATA[As the first printer to collect Chaucer&#039;s works, Pynson has been accused of &quot;inflating&quot; and &quot;contaminating&quot; Chaucer&#039;s canon. But the concept of an author&#039;s &quot;complete works&quot; did not solidify until the nineteenth century. Pynson used Chaucer&#039;s name to sell the collection, and his efforts indicate public interest in a book of &quot;collected works&quot; by one author.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262514">
    <dcterms:title><![CDATA[Richard Pynson&#039;s &#039;Boke of Fame&#039; and Its Non-Chaucerian Poems: A Study and an Edition]]></dcterms:title>
    <dcterms:description><![CDATA[In &quot;The Boke of Fame,&quot; Richard Pynson published Chaucer&#039;s HF, PF, and Truth, plus Chaucerian apocrypha and five additional poems.  Foley explores Pynson&#039;s life, examines manuscripts and editions, investigates authorship, scrutinizes alterations, treats meter, surveys criticism, and presents a new edition with glossary.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262809">
    <dcterms:title><![CDATA[Richard Pynson&#039;s &#039;Book of Fame&#039; and &#039;The Letter of Dido&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;The Letter of Dido&quot; is one of several Chaucerian apocrypha in Pynson&#039;s volume.  Translated from a French version of the &quot;Heroides&quot; of the 1490s, it may owe a debt to one or more of Chaucer&#039;s treatments of the Dido story, and its inclusion in an edition of Chaucer reveals late-medieval exemplarizing taste.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266720">
    <dcterms:title><![CDATA[Richard Pynson&#039;s 1526 Edition of &#039;The Parliament of Fowls&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Pynson&#039;s (1526?) edition of PF was the first printed version of the poem to establish the text from multiple sources.  ]]></dcterms:description>
    <dcterms:description><![CDATA[  The copy text seems to have been of the &quot;beta&quot; sub-group B manuscripts, closest to Bodleian Library MS Bodley 638, and perhaps corrected against a manuscript that underlies the later (1530) edition supervised by Robert Copland for Wynken de Worde.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277444">
    <dcterms:title><![CDATA[Richard Sotheworth, Chancery Clerks, and a Discourse of Books.]]></dcterms:title>
    <dcterms:description><![CDATA[Attributes the copying of British Library, MS Cotton Appendix XVI (&quot;Statuta Angliae&quot;) and nineteen Chancery documents to Richard Sotheworth, whose will records the earliest known ownership of a CT manuscript. Uses these and related documents to identify a complicated &quot;network&quot; of Chancery clerks in late medieval England, exploring their books and affiliations, their &quot;material, cultural, and intellectual aspirations,&quot; and their &quot;worldly cosmopolitanism&quot; as a &quot;rising upper middle bureaucratic class.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270477">
    <dcterms:title><![CDATA[Riddle Me a Murder]]></dcterms:title>
    <dcterms:description><![CDATA[Murder mystery in which the medieval poet Geoffrey Chaucer and his fellow squire at law, Hugh le Hunt, seek to protect John of Gaunt and others from the implications of the death of Lady Mary de Clairmont. The fiction incorporates details from Chaucer&#039;s life, works, and social context.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268804">
    <dcterms:title><![CDATA[Riddles, Knights and Cross-dressing Saints : Essays on Medieval English Language and Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Eight essays by various authors, selected from the papers presented at SEM (Studientag zum Englisches Mittelalter) 4 and 5, held in Potsdam in 2002 and 2003, respectively. For three essays that pertain to Chaucer, search for  Riddles, Knights and Cross-dressing Saints under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270987">
    <dcterms:title><![CDATA[Riders &amp; Horses: Poems Written on the Theme of Geoffrey Chaucer&#039;s &quot;The Prologue to The Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty lyric poems inspired by descriptions in GP: &quot;Knight,&quot; &quot;Dyere,&quot; &quot;Cook,&quot; &quot;Tapicer,&quot; and &quot;Webbe,&quot; by Roy Fisher;  &quot;The Reeve, &quot; &quot;The Manciple,&quot; &quot;The Merchant,&quot; &#039;The Doctor of Physic,&quot; by Keith Please; &quot;Some Instructions of the Horses,&quot; by Andrew Crozier, including &quot;The Knight&#039;s Horse,&quot; &quot;The Reeve&#039;s Horse,&quot; &quot;The Wife of Bath&#039;s Horse,&quot; &quot;The Clerk&#039;s Horse,&quot; and &quot;The Plougman&#039;s [sic] Horse&quot;; and &quot;The Nonne,&quot; &quot;The Millere,&quot; &quot;The Squier,&quot; &quot;The Monk,&quot; and &quot;The Frankeleyn&quot; by Kevin Power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270723">
    <dcterms:title><![CDATA[Riding the Black Ram: Law, Literature, and Gender]]></dcterms:title>
    <dcterms:description><![CDATA[Heinzelman examines the interdependencies of literary and legal discourses and the representations of women in them, seeking to define the development of the novel as a stage in the separation of the two discourses. She reads various French and English novels in this light and presents MLT and WBT as a pairing that anticipates the dynamic of legally affirmed normative behavior and reaction to it. The Man of Law seeks to replace unruly fantasy through law and hagiography, but the Wife responds by reinvesting romance with magic that is equated with the female body. The juxtaposition of the two Tales affirms that contrary narratives interact in ways that evoke ethical responses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261664">
    <dcterms:title><![CDATA[Rigor and License in Blake&#039;s Reading/Painting of the Canterbury Pilgrims]]></dcterms:title>
    <dcterms:description><![CDATA[William Blake&#039;s criticism of GP can best be appreciated by considering his painting, Sir Jeffrey Chaucer and the Nine and Twenty Pilgrims on Their Journey to Canterbury, and his smaller engraving of the same subject.  Blake&#039;s images, though apparently similar, offer two different allegorical readings: the painting interprets the pilgrims&#039; journey as a eucharistic allegory, while the engraving offers a more worldly depiction of the travelers&#039; mirth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265336">
    <dcterms:title><![CDATA[Rimes pour rire: Jeu de rimes equivoques et bilingues de &#039;L&#039;Envoy de Chaucer&#039; dans les &#039;Contes de Cantorbery&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the burlesque effects of the -&quot;aille&quot; rhymes in the envoy to ClT.  Like Eustache Deschamps, Chaucer plays with the plaintive effect of the sound, but he inverts the tone through male exhortation of a feminist position and through the distorted value of the sound in &quot;Marlborough French.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>