<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/269047">
    <dcterms:title><![CDATA[Sentence and solaas : visitaciouns . . . to pleyes of myracles]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the character of the Wife of Bath, focusing on complementary dualities, particularly moral instruction and enjoyment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273652">
    <dcterms:title><![CDATA[Sentence and Solaas in Fragment VII of the &quot;Canterbury Tales&quot;: Harry Bailly as Horseback Editor.]]></dcterms:title>
    <dcterms:description><![CDATA[Concentrates on the links between the Tales in Part 7 of CT, arguing that this &quot;Literature Group&quot; is concerned primarily with the &quot;art of storytelling,&quot; particularly the responsibilities of audience and author as dramatized in the directions and reactions of the Host to the Tales and their tellers. Includes sustained attention to Chaucer as artist and as tale-teller, the Host as &quot;editor and judge,&quot; and the paired concerns of &quot;sentence&quot; and &quot;solaas&quot; established in GP and assessed in Rom.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264147">
    <dcterms:title><![CDATA[Sentence and Solaas: The Function of the Hosts in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Harry Bailly acts as critic and leader as the reader moves through the tales of morality or entertainment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264818">
    <dcterms:title><![CDATA[Sentence and Solaas: Thematic Development and Narrative Technique in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[The author investigates some of the ways in which Chaucer exploited the scheme of CT to enlighten us about the nature of the art of narrative, and demonstrates some of the modern senses in which the poet dramatized the medieval pilgrims with reference to both fictional and real characters, and represented to us an eternal human comedy.]]></dcterms:description>
    <dcterms:description><![CDATA[The author especially pays attention to a full understanding of the pilgrim-tale relationship which affords the fundamental dramatic principle of CT. At the same time he fixes his attention on the invention of Chaucer the pilgrim-narrator who tells the whole Canterbury event as persona of Chaucer, the poet, who has created the total poetic structure, the various elements of narration, and the narrative technique.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274415">
    <dcterms:title><![CDATA[Sentimental Comedy in the &quot;Franklin&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the Franklin&#039;s gentility is a &quot;watered-down version&quot; of traditional gentility, aligning FranT with eighteenth-century bourgeois &quot;sentimental comedy.&quot; Contrasts KnT and FranT, maintaining that &quot;virtue releases man from the bonds of necessity&quot; in the latter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262096">
    <dcterms:title><![CDATA[Separations and St. Paul&#039;s Thorn in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although the narrator of TC tries to separate pagan from Christian and body from spirit, the poem&#039;s allusions to 2 Corinthinians are an &quot;indictment of (his) disastrous attempt to sunder the heavenly and the earthly.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276704">
    <dcterms:title><![CDATA[Serenade to Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record quotes an Exhibition guide [Bodleian Library]: MilT as &quot;abridged to four pop-up spreads . . . also illustrates the four seasons and major festivals of the religious calendar. Each spread contains an envelope holding diary entries describing the making of the book, chronologically, and recorded concurrent events in the life of the book artist. The book can either be opened to a 360-degree carousel, or ... pulled out as an accordion book.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264893">
    <dcterms:title><![CDATA[Serious Chaucer: &#039;The Tale of Melibeus&#039; and the Parson&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer gives large emphasis and exaggerated length to the didactic.  Mel and ParsT are so solidly &quot;there&quot; in the structure of CT that we would not understand the dynamics of the poem if we did not take them into account.  Chaucer vies with Dante in making materials inimical to poetry the large stepping stones across which we walk more confidently into the poem as a whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273570">
    <dcterms:title><![CDATA[Serious Play and Playful Seriousness in &quot;The Franklin&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on how playfulness breaks the limits of existential constraint in FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270724">
    <dcterms:title><![CDATA[Serious Play: Desire and Authority in the Poetry of Ovid, Chaucer, and Ariosto]]></dcterms:title>
    <dcterms:description><![CDATA[Considers &quot;social and political crises that activate the comic poetry&quot; of Ovid, Chaucer, and Ariosto. In particular, chapter 2, &quot;Chaucer: Dealing with the Authorities, Or, Twisting the Nose That Feeds You,&quot; addresses Chaucer&#039;s humor as it relates to desire and authority in BD, TC, HF, PF, LGW, and CT. Hanning emphasizes how &quot;crises of desire and authority&quot; in each work provide &quot;ample opportunities for comic treatment of cultural and political issues of obvious importance to the poet&quot; (125).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262125">
    <dcterms:title><![CDATA[Sermon and Penitential in &#039;The Parson&#039;s Tale&#039; and Their Effect on Style]]></dcterms:title>
    <dcterms:description><![CDATA[ParsT is a collage, drawing mainly on penitential materials, variously rendered in paraphrase, word-for-word translation,free idiomatic redaction, and adaptations that appear to derive from more than one source.  Ssome sections are sermonlike, directly addressing the pilgrims; others are intended to instruct the parish priest, to remedy &quot;ignorantia sacerdotum.&quot;  A lack of homogeneity is inevitable.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264009">
    <dcterms:title><![CDATA[Sermon Structure in the &#039;Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Modern&quot; medieval sermons, as contrasted with patristic sermons, are not structurally rigid, but PardT follows agreed-upon elements and sequences of material and relates theme to form.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266539">
    <dcterms:title><![CDATA[Servant and Lord/Lady and Wife: The &#039;Franklin&#039;s Tale&#039; and Conjugal Love]]></dcterms:title>
    <dcterms:description><![CDATA[Finds parallels between FranT and Chretien de Troyes&#039;s &quot;Eric and Enid&quot; as both courtly texts and antiadulterous ones.  Chaucer&#039;s contribution to the dialectic is the integration of &quot;fin&#039;amour&quot; with Truth expressed as Christian virtue, defending courtly love against the tradition of adulterous love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273928">
    <dcterms:title><![CDATA[Serving Time: The BBC &quot;Knight&#039;s Tale&quot;in the Prison-House of Free Adaptation.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the concern with reading and liberation in the BBC television version of KnT is &quot;reflexive,&quot; mirroring the goals of the six-part series. The series&#039; goal of &quot;freeing&quot; readers from &quot;academic Chaucer&quot; is paralleled by efforts to liberate the episode&#039;s male protagonists through education, but both are undercut by circular logic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271362">
    <dcterms:title><![CDATA[Sestina for Chaucer and Second Period]]></dcterms:title>
    <dcterms:description><![CDATA[Poetic tribute to Chaucer, with recurrent allusions to GP, cast as a commentary on teaching Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273252">
    <dcterms:title><![CDATA[Seven]]></dcterms:title>
    <dcterms:description><![CDATA[Murder-mystery action drama in which the serial killer uses the Seven Deadly Sins to organize his crimes. Includes several visual and verbal references to ParsT and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277300">
    <dcterms:title><![CDATA[Seven Centuries of Poetry: Chaucer to Dylan Thomas.]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes in chronological order poems and extracts from English poetry written in Britain, including selections from Chaucer in Middle English (pp. 5-8): &quot;Now welcome, somer&quot; (PF 680), &quot;At the gate&quot; (TC 5.1114-1183), and &quot;The fresshe flour&quot; (LGWP-F 115-24), no notes and few glosses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272643">
    <dcterms:title><![CDATA[Seven Sound and Motion Stories: and, The Tale of Oniroku]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record indicates that this includes a version of NPT for a juvenile audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269257">
    <dcterms:title><![CDATA[Seventeen Words of Middle Dutch Origin in the Miller&#039;s Tale?]]></dcterms:title>
    <dcterms:description><![CDATA[Peter G. Beidler identifies &quot;Heile van Beersele&quot; as a likely source for MilT, supporting his argument with seventeen words he ascribes to Middle Dutch origin in MilT. Only one &quot;or perhaps two&quot; of those words prove to be &quot;distinctively Dutch,&quot; however, thus providing little assistance in identifying Chaucer&#039;s source.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276319">
    <dcterms:title><![CDATA[Sex and Clergy in Chaucer&#039;s &quot;General Prologue.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the seven clerical pilgrims described in GP (Prioress, Monk, Friar, Clerk, Parson, Summoner, and Pardoner) are &quot;partially or wholly defined by their sexual propensities,&quot; constituting a thematic pattern of &quot;caritas&quot; in tension with &quot;amor&quot; and exemplifying the Parson&#039;s condemnation of &quot;Luxuria&quot; (ParsT 10.890-902).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266187">
    <dcterms:title><![CDATA[Sex and Old Age in Chaucer&#039;s &#039;Reeve&#039;s Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer is versed in medieval medical theories, which underlie the physical and emotional descriptions of the Reeve in both GP and RvP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268254">
    <dcterms:title><![CDATA[Sex and Power in Thebes and Babylon: Oedipus and Semiramis in Classical and Medieval Texts]]></dcterms:title>
    <dcterms:description><![CDATA[Archibald surveys accounts of Oedipus and of Semiramis in classical and medieval texts, focusing on their concern or lack of concern with incest. Recurrent mention of Dante, Boccaccio, Christine de Pizan, and Chaucer-in particular TC, MLT, PF, and LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271162">
    <dcterms:title><![CDATA[Sex and Punishment in Geoffrey Chaucer&#039;s &#039;The Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces MilT as a fabliau, contrasts it with KnT, and comments on the &quot;punishment&quot; received by each of the major characters, including Alisoun, who is victimized by being a wife and through whom Chaucer critiques marriage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273311">
    <dcterms:title><![CDATA[Sex and Salvation in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer combines earthly and spiritual love in TC &quot;into one general view of love, one in which the two notions are not mutually exclusive,&quot; reading Troilus&#039;s ascent through the spheres as a kind of reward or salvation for loving well.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275439">
    <dcterms:title><![CDATA[Sex and the (Hetero) Erotic in Chaucer&#039;s &quot;Canterbury Tales&quot; and &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;by subverting traditional literary genres, and inventing new ones, Chaucer provided alternative life-views,&quot; reframing traditional views of eroticism in CT (KnT, MilT, RvT, WBPT, PhyT, ShT) and TC.]]></dcterms:description>
</rdf:Description></rdf:RDF>