<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/274250">
    <dcterms:title><![CDATA[Secular Consolation in Chaucer&#039;s &quot;Complaint of Mars.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s self-conscious exploration of time in Mars, arguing that in form and content the poem presents an ambivalent, &quot;permeable, and even unstable&quot; view of secularity but also implies the &quot;palpably absent&quot; other of transcendence. More like BD than TC, Mars conveys Boethian consolation that can be characterized as &quot;secular&quot; only if it is realized how secularity entails temporality in medieval understanding.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272244">
    <dcterms:title><![CDATA[Secular Dramatics in the Royal Palace, Paris, 1378, 1389, and Chaucer&#039;s &#039;Tregetoures&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the verbal and visual records of Parisian court entertainments which have parallels with Chaucer&#039;s description of visual spectacle putatively produced by magicians (&quot;tregetours&quot;) in FranT 5.1139-51,]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276676">
    <dcterms:title><![CDATA[Secular Dramatics in the Royal Palace, Paris, 1378, 1389, and Chaucer&#039;s &quot;Tregetoures.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies the &quot;tregetoures&quot; of FranT 4.1141, not as jugglers or magicians, but as the &quot;actors, craftsmen, &#039;artisans mécaniques&#039;&quot; who produced spectacular entertainments such as the ones recorded by chroniclers to have taken place at the Royal Palace, Paris, in 1378 and 1389--the first representing the First Crusade, and the second, Jean Froissart&#039;s account of the Fall of Troy. Quotes from and analyzes original descriptions of these performances and related ones.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268251">
    <dcterms:title><![CDATA[Secularizing the Word: Conversion Models in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Conversions in TC are modeled ironically on those of St. Paul and St. Augustine. Like Paul, Troilus cannot escape his fate; he can only accept and serve. Like Augustine, Criseyde vainly tries to master the narrative that is out of her control.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266289">
    <dcterms:title><![CDATA[Seduction and Betrayal: Treason in the &#039;Prologue&#039; to the &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[When an angry God of Love accuses the narrator of a breach of faith, Alceste rebukes the god for believing false counselors.  This action reflects the political situation of Chaucer&#039;s time.  The Lord&#039;s Appellant had attacked Richard II&#039;s corrupt counselors for giving him evil advice--a violation of trust and therefore &quot;treason&quot; in the medieval sense of the word.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267783">
    <dcterms:title><![CDATA[Seductive Violence and Three Chaucerian Women]]></dcterms:title>
    <dcterms:description><![CDATA[The Wife of Bath, the Prioress, and the wife in ShT represent themselves as victims of violence to make themselves attractive to men. In doing so, they draw on texts, such as medieval saints&#039; lives and romances, that depict violence as central to the formation and maintenance of gender. The arrangement of this material suggests that Chaucer was simultaneously aware of, complicit in, and subject to this process of gender formation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275787">
    <dcterms:title><![CDATA[Seed of Felicity: A Study of the Concepts of Nobility and &quot;Gentilesse&quot; in the Middle Ages and the Works of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the intellectual and social backgrounds of medieval understandings of nobility and &quot;gentilesse,&quot; and analyzes noble birth and noble action in TC and CT, especially the ironies of failed &quot;noble potential&quot; in TC, the framing noble ideals of the Knight and Parson in CT, and the Franklin&#039;s literal rather than spiritual understanding of gentility in FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261713">
    <dcterms:title><![CDATA[Seeing and Believing in the &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The deceptive nature of physical sight in FranT is based on the medieval theory of optics, whereby one&#039;s vision--buttressed by &quot;proper&quot; control of the will--aided one in knowing God, while &quot;improper&quot; control made one susceptible to the dangers of magic.  Without Arveragus to balance her, Dorigen falls victim to distorted vision, thus generating the pact with Aurelius that almost leads to her destruction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277498">
    <dcterms:title><![CDATA[Seeing and Unseeing in &quot;The Miller&#039;s Tale&quot;: Chaucer&#039;s Literary Use of Medieval Optics.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines MilT through the lens of medieval optical theories, particularly those of Ibn al-Haytham and Roger Bacon. Argues that Chaucer&#039;s depictions of visual perception, distance, and light may be influenced by these optical theories, using them metaphorically to highlight emotional distance and relationships between the characters. Suggests that Chaucer&#039;s descriptions of black and white in MilT reflect the principles of medieval optics, contributing to his literary innovation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273587">
    <dcterms:title><![CDATA[Seeing Red: The Ellesmere Iconography of Chaucer&#039;s Nun&#039;s Priest.]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that the Nun&#039;s Priest is often illustrated in manuscripts and books, even though he is not described in the GP, arguing that the illustrations are informed by the Host&#039;s comments on the Priest and by the description of the protagonist of NPT, the &quot;red-topped rooster,&quot; Chauntecleer. Surveys illustrations in extant manuscripts of CT, and examines portraits of the Nun&#039;s Priest in visual history. Includes 10 color illus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270469">
    <dcterms:title><![CDATA[Seeing the &quot;Gawain&quot;-Poet: Description and the Act of Perception]]></dcterms:title>
    <dcterms:description><![CDATA[Argues in detail that the &quot;Gawain&quot;-poet develops a &quot;visually focused descriptive poetic&quot; in his works and, by way of conclusion, asks whether such a poetic is unusual in late-medieval English literature, going on to treat works by Chaucer, &quot;Sir Orfeo,&quot; the mystics, and more. Chaucer is often more &quot;panoramic than particular&quot; in his visual representations (e.g., in KnT and BD) and generally more concerned &quot;with the relationship between perception and action&quot; than with dramatizing &quot;a character&#039;s understanding.&quot; He also tends to separate visual, sensory epistemology from other ways of knowing and perceiving (e.g., in SNT and MerT).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261415">
    <dcterms:title><![CDATA[Seeing the Prioress Whole]]></dcterms:title>
    <dcterms:description><![CDATA[The Prioress&#039;s worldly graces and associations with Mary are well-suited to her esteemed position of religious and social power.  Frank speculates that Chaucer chose PrT for its associations with the &quot;cult of Notre Dame du Puy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265627">
    <dcterms:title><![CDATA[Seeing Things: Locational Memory in Chaucer&#039;s Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Carruthers explores the role of memory, one of the five divisions of classical rhetoric, in composing and understanding medieval poetry.  Works such as &quot;Sir Gawain and the Green Knight&quot; and Chaucer&#039;s KnT are &quot;memory-friendly&quot; because images associated with well-defined places help both poet and audience construct a mental diagram of the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268585">
    <dcterms:title><![CDATA[Seeing Through the Veil: Optical Theory and Medieval Allegory]]></dcterms:title>
    <dcterms:description><![CDATA[Tracks developments in the theory and practice of personification allegory in medieval literature (especially the &quot;Roman de la Rose,&quot; works by Dante, and works by Chaucer) in relation to optical theory and epistemology. As confidence in the epistemological reliability of vision and language diminishes historically, allegory becomes a less confident genre. According to Akbari, there is a &quot;distinct progression in Chaucer&#039;s use of faculty psychology,&quot; particularly his &quot;use of vision as a metaphor for knowing.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[As confidence in the epistemological reliability of vision and language diminishes historically, allegory becomes a less confident genre. According to Akbari, there is a &quot;distinct progression in Chaucer&#039;s use of faculty psychology,&quot; particularly his &quot;use of vision as a metaphor for knowing.&quot; Reliance on allegorical vision in his early works (BD, SNT, Bo) gives way to dependence on sound (PF, HF, LGWP) and eventually to abandonment of personification and allegory in CT (Mel and MerT), although vestiges remain.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266714">
    <dcterms:title><![CDATA[Seeing Through Windows in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[TC contains a series of images of windows both open and closed, which are added to (or changed from) Chaucer&#039;s sources and which provide a commentary on the relationships between the lovers.  Views out of windows are limited views, or &quot;fictions,&quot; representing and summarizing one meaning of the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274233">
    <dcterms:title><![CDATA[Seeing Time: Boethius and the Ethics of Perspective in Chaucer&#039;s Dream Visions and &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Boethius&#039;s &quot;Consolation of Philosophy&quot; provides Chaucer with a means of understanding time as a unified and simultaneous whole, and that he deploys this understanding in the dream visions, and especially TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269886">
    <dcterms:title><![CDATA[Seeing, Believing and Groping in the Dark: A Reading of the Reeve&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[RvT differs from its sources and analogues by developing the relationship  between sight, desire, and reason, ultimately questioning the function of vision, the most important of the senses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263290">
    <dcterms:title><![CDATA[Seeing, Hearing, and Knowing in &#039;The House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Though the first two sections of HF abound in expressions of personal experience--&quot;I saw,&quot; &quot;I heard&quot;--the pattern of use and the shaping force of art and science undermine the trustworthiness of appearance.  The switch to third-person narrative in the description of Fame in bk. 3 and the unmediated experience of sound and sight in the presence of Rumour represent direct visions, but the absence of a frame that would impose coherence makes this knowledge no more trustworthy. ]]></dcterms:description>
    <dcterms:description><![CDATA[&quot;The lack of conclusion &#039;is&#039; the meaning of a work...(about) the varied ways of knowing&quot; (p. 55).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266953">
    <dcterms:title><![CDATA[Seeking &#039;Goddes Pryvete&#039;: Sodomy, Quitting and Desire in The Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In medieval tradition, sodomy was associated with misinterpretation. When seen in this light, Absolon&#039;s sodomizing of Nicholas in MilT both reinforces heteronormativity and decries the system upon which it is based. The Miller&#039;s reference to &quot;Goddes pryvete&quot; (MilP 1.3164) is part of his rebellion against the Knight and the order he embodies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270890">
    <dcterms:title><![CDATA[Seeking the Medieval in Shakespeare: The Order of the Garter and the Topos of Derisive Chivalry]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews several late medieval texts to demonstrate the &quot;devolution of knighthood&quot; before Shakespeare&#039;s time. Comments on the GP description of the Knight, on MerT, and on Th.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262370">
    <dcterms:title><![CDATA[Seeking the Woman in Late Medieval and Renaissance Writings: Essays in Feminist Contextual Criticism]]></dcterms:title>
    <dcterms:description><![CDATA[Twelve essays by various hands that stand &quot;at the intersection of Anglo-American empirical historicism and French theories of textuality.&quot;  Historical women were real in ways that are absent from writings.  Essays are grouped under three headings: &quot;Exchanging Women:  Male Texts and Homosocial Contexts&quot;; &quot;Informing Women:  Medieval, Early  Modern, and Postmodern; &quot;Writing Woman/Reading Women:  Historical Women and the Masculine Production of Meaning.&quot; For an essay that pertains to Chaucer, search for Seeking the Woman in Late Medieval and Renaissance Writings under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268938">
    <dcterms:title><![CDATA[Seeking Trouthe in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Ganze discusses concepts and manifestations of &quot;trouthe&quot; in MLT, ClT, and FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266802">
    <dcterms:title><![CDATA[Seen and Sometimes Heard: Piteous and Pert Children in Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the diverse portrayals of children in medieval literature, commenting on how Chaucer questions the innocence of the &quot;clergeoun&quot; in PrT and how in LGW and MkT his pathos is more restrained than in his sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267012">
    <dcterms:title><![CDATA[Seinte Cecile and Cristes Owene Knyghtes: Violence, Resignation, and Resistance in the Second Nun&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Martial imagery in SNT presents Cecilia as a &quot;kind of general in a spiritual army of the steadfast faithful.&quot; Seen in light of Th and Mel, SNT idealizes &quot;non-violent resistance, not passive resignation, to abuses of power.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275844">
    <dcterms:title><![CDATA[Sejm Ptasi.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record indicates that this is a translation of PF into Polish. ]]></dcterms:description>
</rdf:Description></rdf:RDF>