<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/272098">
    <dcterms:title><![CDATA[Riming Justice in &#039;The Friar&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that the thematic concerns of FrT are evident in its rhyme words, focusing on the occurrences of &quot;entente&quot; and its rhymes: &quot;rente,&quot; &quot;hente,&quot; and &quot;repente.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274851">
    <dcterms:title><![CDATA[Ripples on the Water? The Acoustics of Geoffrey Chaucer&#039;s &quot;House of Fame&quot; and the Influence of Robert Holcot.]]></dcterms:title>
    <dcterms:description><![CDATA[Discredits the idea that the Eagle&#039;s disquisition on sound in HF is conventional Aristotelianism, mediated by Robert Grosseteste or Walter Burley, arguing that the details of the multiplying ripples and the combination of science and myth were influenced instead by Robert Holcot&#039;s commentary on the Book of Wisdom. Describes Holcot&#039;s career among the Oxford Calculators (Mertonians) and explains Holcot&#039;s influence on HF and elsewhere in Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268177">
    <dcterms:title><![CDATA[Riscrivere &#039;Fama&#039;: Da Chaucer a Pope]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts Chaucer&#039;s concern for the role of authors in the preservation of historical &quot;fame&quot; with Pope&#039;s emphasis on the enduring value of art. Di Rocco shows how Pope&#039;s personal interest in fame is tempered by humility like that of Chaucer&#039;s Dreamer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277482">
    <dcterms:title><![CDATA[Risk before Risk: Actuarial Logic and Mercantile Metaphors in the &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that &quot;actuarial forms of thinking&quot; underlie the CT, particularly the tale-telling contest, the opening and closing of the GP, sea-trade and risk in the GP descriptions of the Merchant and the Shipman, and associative links nbetween mercantilism and alchemy in CYPT. Considers predictive and determinative aspects of &quot;aventure,&quot; and explores the putatively modern issues of risk management, insurance, and credit in proto-capitalistic thought and practice as refracted in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269414">
    <dcterms:title><![CDATA[Risking Desire: Chaucerian Representations of Erotic Love and the Pagan Past]]></dcterms:title>
    <dcterms:description><![CDATA[Like many of his predecessors, Chaucer explores risks in dealing with pagan sources, but he renders such risks pleasurable as a means to &quot;destabilize Christian constructs of safety.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275043">
    <dcterms:title><![CDATA[Ritual Lighting: Laureate Poems.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes a lyric poem entitled &quot;Chaucer&#039;s Valentine, for Nia,&quot; which opens by quoting lines 1–2 of PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270881">
    <dcterms:title><![CDATA[Rival Poets: Gower&#039;s &#039;Confessio&#039; and Chaucer&#039;s &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Bowers describes LGW as &quot;work-in-progress&quot; of the 1390s and dates the G-prologue between 1392 and 1394, offering various comments to help justify these datings and explore their implications: LGWP emulates Gower&#039;s Ricardian prologue to &quot;Confessio Amantis,&quot; and Chaucer recurrently follows Gower in choosing plots; the Man of Law is a portrait of Gower; Pandarus is a version of Robert de Vere, friend of Richard II; Chaucer suffered an &quot;inferiority complex&quot; in the face of Gower&#039;s trilingualism and the success of &quot;Piers Plowman&quot; and the &quot;Pearl&quot;-poet; Gower was the cynosure of Lancastrian literary promotion in the early fifteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261218">
    <dcterms:title><![CDATA[Rivalry, Rape, and Manhood: Gower and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Discussions of the &quot;quarrel&quot; between Chaucer and Gower (anchored in MLP) pose a Chaucer who was free of base, ingratiating attitudes toward his sovereign and who was the source of pure poeticality--language and aesthetics unpolluted by self-interest.  In contrast, the same discussions create a Gower who was an &quot;ingrate&quot; and a &quot;sycophant&quot; at court, content to &quot;follow&quot; and to imitate in his moralizing, unequivocally second-rate poetic endeavors. Gower plays the lumbering &quot;fall guy&quot; to the nimble and free-spirited Chaucer.]]></dcterms:description>
    <dcterms:description><![CDATA[Dinshaw argues that such rivalry effaces women--that when &quot;read in interaction,&quot; Gower&#039;s Philomela narrative and aspects of Chaucer&#039;s Criseyde &quot;can be opened to reveal and resist the violent obliteration of the feminine.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Revised slightly in Anna Roberts, ed. Violence Against Women in Medieval Texts (Gainesville: University Press of Florida, 1998).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274707">
    <dcterms:title><![CDATA[Roadworks: Medieval Britain, Medieval Roads.]]></dcterms:title>
    <dcterms:description><![CDATA[Twelve essays by various authors and an introduction by the editors explore the material and symbolic status of roads in medieval history and literature. The volume includes a bibliography and index. For three essays that pertain to Chaucer, search for Roadworks under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263440">
    <dcterms:title><![CDATA[Roasting a Friar, Mis-taking a Wife, and Other Acts of Textual Harassment in Chaucer&#039;s &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s pilgrims misquote or distort received texts to further their own interests.  In SumT and WBP, Chaucer turns two experts in &quot;glosinge&quot; into &quot;human texts&quot; to satirize Friar John and to expose the limited options of the Wife in dealing with established stereotypes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261513">
    <dcterms:title><![CDATA[Robert Dodsley&#039;s Archaizing Chaucer Allusion]]></dcterms:title>
    <dcterms:description><![CDATA[Discovers a Chaucer allusion in Nathan ben saddi&#039;s (i.e., Robert Dodsley&#039;s) The Chronicle of the Kings of England (London, 1740), which was written in pastiche style.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268845">
    <dcterms:title><![CDATA[Robert Henryson]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Henryson&#039;s biography, relations with medieval tradition, and stylistic range. Though he admired Chaucer, Henryson criticizes TC in the &quot;Testament of Cresseid&quot; because at the end of Chaucer&#039;s poem nothing more is known about Criseyde.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274964">
    <dcterms:title><![CDATA[Robert Henryson: Poems.]]></dcterms:title>
    <dcterms:description><![CDATA[Edits a selection of Robert Henryson&#039;s poetry, with appended critical notes and glosses, an Introduction, a Biographical and Textual Note, and a series of Appreciations by literary historians. The Introduction (pp. vii-xv) focuses on how and to what extent Henryson ought to be considered &quot;Chaucerian,&quot; emphasizing Henryson&#039;s independence, and providing points of comparison and contrast between the two poets. The critical notes include recurrent references to Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271045">
    <dcterms:title><![CDATA[Robert Henryson&#039;s Pastoral Burlesque &#039;Robene and Makyne&#039; (c.1470)]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Henryson&#039;s pastoral &quot;Robene and Makyne&quot; as a burlesque, attributing its generic variety to the poet&#039;s attempt to emulate Chaucer&#039;s &quot;virtuosity,&quot; and exploring several instances where Henryson follows Chaucer&#039;s steps more closely, treating most extensively the influence of WBPT on Makyne&#039;s desire to &quot;rule men&quot; in Henryson&#039;s poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268004">
    <dcterms:title><![CDATA[Robert Holcot on the Jews]]></dcterms:title>
    <dcterms:description><![CDATA[Both in his emphasis on particular Christian issues and in his stereotyping of Jews, Dominican writer Robert Holcot reflects the lack of Jews in England. Holcot may have influenced Chaucer&#039;s understanding of Jews.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270346">
    <dcterms:title><![CDATA[Robert K. Root (1877-1950)]]></dcterms:title>
    <dcterms:description><![CDATA[Explains Root&#039;s dependence on William Symington McCormick&#039;s theory of Chaucer&#039;s seriatim revisions of TC, and castigates the &quot;illogical rationalism&quot; of Root&#039;s editorial methods, especially his treatment of scribal error.  Root&#039;s &quot;longing for an automatically generated text&quot; overrode &quot;palpable facts&quot; and his conservative &quot;adherence to principle&quot; produced a seriously flawed text, albeit one accompanied by an excellent critical introduction and superb explanatory notes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273269">
    <dcterms:title><![CDATA[Robertson and the Critics.]]></dcterms:title>
    <dcterms:description><![CDATA[Critiques--pro and con--Robertsonian criticism, also known as exegetical, Augustinian, or historical criticism, describing its theoretical and practical strengths and limitations, and exploring its possibilities for further illuminating medieval literature. Focuses on D. W. Robertson&#039;s &quot;A Preface to Chaucer&quot; and his &quot;Chaucerian Tragedy,&quot; which assesses the &quot;pattern&quot; of the Fall of humankind in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271387">
    <dcterms:title><![CDATA[Robin Hood &amp; Friar Tuck: Zombie Killers, A Canterbury Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Horror fiction in rhymed pentameter couplets, presented as the &quot;Monk&#039;s Second Tale,&quot; with Prologue and Epilogue.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262431">
    <dcterms:title><![CDATA[Robyn the Miller&#039;s Thrifty Work]]></dcterms:title>
    <dcterms:description><![CDATA[Studies MilT for its &quot;intersecting strands of linguistic coding&quot; and contrasts Robertsonian character typing with Bakhtin&#039;s &quot;dialogic imagination,&quot; semantic open-endedness.  The stock character type of the Miller is &quot;quited&quot; by his tale.  Bakhtin&#039;s view allows for Chaucerian immediacy and idiosyncrasy controlled by authoritative discourse.  The new voices and meanings of CT are created out of the received languages of rhetoric, philosophy, and society.]]></dcterms:description>
    <dcterms:description><![CDATA[Knapp treats Robyn the Miller&#039;s &quot;anti-aristocratic language&quot; and his entrepreneurial and nominalist ideology, by which he forces the Knight and the Host, &quot;who had offended him through their deference to the hierarchical world, to see disorder and sex graphically.&quot;  MilT uses Freudian techniques of degradation and unmasking.  Chaucer&#039;s fiction looks like the &quot;real world&quot; rather than the weaving together of languages.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268477">
    <dcterms:title><![CDATA[Rockwell Kent&#039;s Canterbury Pilgrims]]></dcterms:title>
    <dcterms:description><![CDATA[Wein examines and appreciates the ways Kent&#039;s illustrations of the Canterbury pilgrims broke with formal and interpretive traditions. The essay focuses on the aesthetic impact of the lavish 1930 limited edition (published by Covici-Friede), later frequently reprinted.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261288">
    <dcterms:title><![CDATA[Rocky Shores and Pleasure Gardens: Poetry vs. Magic in Chaucer&#039;s Franklin&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[An illustrated analysis of moral and aesthetic issues raised by Chaucer.  The rocks, garden, and study that form the loci of FranT carry iconographic meaning suggesting a true poetics of illusion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274506">
    <dcterms:title><![CDATA[Roger Bacon&#039;s &quot;in convexitate&quot; and Chaucer&#039;s &quot;In convers&quot; (&quot;Troilus and Criseyde&quot;. V. 1810).]]></dcterms:title>
    <dcterms:description><![CDATA[Cites Roger Bacon&#039;s &quot;Tractatus brevis . . . in libro Secreti Secretorum Aristotilis&quot; as possible justification for emending &quot;convers&quot; to &quot;convex&quot; in the reference to the eighth sphere in TC 5.1910, despite the lack of textual support.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276134">
    <dcterms:title><![CDATA[Roger of Ware: A Medieval Masterchef in Chaucer&#039;s &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the characterization and culinary skills of the Cook, commenting on details of GP, CkP, and ManP, and commending his variety of cooking techniques. Includes recipes for &quot;Chicken with the Marrowbones&quot; and &quot;Mortreux&quot; (GP, 380, 384).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268805">
    <dcterms:title><![CDATA[Role-Conformity and Role-Playing in Troilus, Pandarus, and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[The three main characters of TC &quot;embody three widely different ways of handling the roles they want to be judged by&quot;: total identification (Troilus), total detachment (Pandarus), and acceptance with reservations (Criseyde). Although Chaucer could not have had role-playing theory in mind, he was sensitive to &quot;what happens when three persons of so incompatible views on reality are let loose on each other.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275493">
    <dcterms:title><![CDATA[Rolle Reassembled: Booklet Production, Single-Author<br />
Anthologies, and the Making of Bodley 861.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores connections between authority and production/distribution in Bodley 861. Briefly compares the Bodley scribe and scribe B in the Hengwrt CT, discusses Chaucer&#039;s shorter poems and their dependence on external evidence, and discusses John Shirley as the copyist of Adam.]]></dcterms:description>
</rdf:Description></rdf:RDF>