<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/274066">
    <dcterms:title><![CDATA[Shakespeare and Chaucer: Influence and Authority on the Renaissance Stage.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Shakespeare&#039;s intersections with Chaucerian works (e.g., KnT and TC) with regard to the idea of plays gaining regard as literary works in and of themselves.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271473">
    <dcterms:title><![CDATA[Shakespeare and the Medieval World]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the influence of medieval culture and Chaucer on Shakespeare. Reveals how Shakespeare relied on Chaucer&#039;s language and verse forms for &quot;The Two Noble Kinsmen.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270068">
    <dcterms:title><![CDATA[Shakespeare and the Middle Ages: Essays on the Performance and Adaptation of the Plays with Medieval Sources or Settings]]></dcterms:title>
    <dcterms:description><![CDATA[Thirteen essays, plus several introductory commentaries, gauge Shakespeare&#039;s uses of medieval materials and how those materials are reflected in modern stage and film adaptations. Shakespeare&#039;s &quot;medievalism&quot; shapes modern notions of the Middle Ages. For three essays that pertain to Chaucer, search for Shakespeare and the Middle Ages under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269134">
    <dcterms:title><![CDATA[Shakespeare and the Middle Ages: Inaugural Lecture Delivered at the University of Cambridge, 29 April 2005]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the continuities of the Middle Ages and Renaissance, emphasizing the inventiveness of the Middle Ages and the rootedness of the Renaissance in medieval traditions, focusing on drama and on Shakespeare in particular. Recurrent references to Chaucer, especially Shakespeare&#039;s dependence on him.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268588">
    <dcterms:title><![CDATA[Shakespeare and the Puppet Sphere]]></dcterms:title>
    <dcterms:description><![CDATA[Barasch traces puppetry from Socrates to the Renaissance, arguing that Elizabethan puppet theatre conveyed popular learning. Chaucer&#039;s descriptions of the pilgrim Geoffrey as a &quot;popet&quot; (7.701-2) and of Alison as a &quot;popelote&quot; (MilT 1.3254) may reflect puppet entertainment in the fourteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273432">
    <dcterms:title><![CDATA[Shakespeare and Thomas Underdowne&#039;s &quot;Theseus and Ariadne.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Underdowne&#039;s &quot;Theseus and Ariadne&quot; (1566) draws on a number of earlier versions of the myth, including Ovid&#039;s &quot;Heroides&quot; and Chaucer&#039;s LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275049">
    <dcterms:title><![CDATA[Shakespeare Rewords Chaucer: &quot;Troilus and Cressida.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the glossary and other &quot;editorial apparatus&quot; of Speght&#039;s 1598 edition of Chaucer&#039;s &quot;Workes&quot; &quot;yokes&quot; Chaucer&#039;s language and lexicon &quot;with his position as an English author,&quot; and that in his use of Speght&#039;s TC as source for &quot;Troilus and Cressida&quot; Shakespeare emulates this &quot;linguistic emphasis&quot; to raise &quot;questions of signification&quot; and evoke skepticism about words and values.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263691">
    <dcterms:title><![CDATA[Shakespeare to chusei (Shakespeare and the Middle Ages)/]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the similarities in Chaucer&#039;s and Shakespeare&#039;s views of the universe.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273730">
    <dcterms:title><![CDATA[Shakespeare und Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Records various early modern reactions to Chaucer, particularly his language and style, and explores similarities between Shakespeare and Chaucer, focusing on their stylistic range, and their attitudes toward social class, education, and human virtue. In German.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267686">
    <dcterms:title><![CDATA[Shakespeare, Catholicism, and Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Explores affinities between Roman Catholic doctrine and outlook and Shakespeare&#039;s works, especially his romances and other plays that use the &quot;romance mode.&quot; Recurrent references to Chaucer reflect his influence on Shakespeare in plot, mode, and outlook.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276189">
    <dcterms:title><![CDATA[Shakespeare, Catholicism, and the Middle Ages: Maimed Rights.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Shakespeare and &quot;his fellow dramatists . . . consciously  revived . . . non-dramatic forms of medieval culture . . . in order to challenge the new constraints placed on public dissent by Tudor and Stuart absolutism&quot; and affirm &quot;the power of the powerless.&quot; Includes discussion of the &quot;continuity in Christian attitudes to Jews&quot; in PrT, &quot;The Merchant of Venice,&quot; and Christopher Marlowe&#039;s &quot;The Jew of Malta,&quot; exploring their similarities in depicting &quot;anxieties about Christian involvement in a money economy&quot; associated with Jews.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268155">
    <dcterms:title><![CDATA[Shakespeare, Chaucer, and &#039;False Cressida&#039;: A Reinterpretation]]></dcterms:title>
    <dcterms:description><![CDATA[Hurst argues that Shakespeare&#039;s Cressida is an &quot;embryonic feminist&quot;; Cressida compares favorably with Chaucer&#039;s Criseyde, who was elsewhere demeaned in subsequent accounts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275837">
    <dcterms:title><![CDATA[Shakespeare, Chaucer, and Shakespeare&#039;s Editors.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys attention to Chaucer&#039;s influence upon Shakespeare, enumerating the references to Chaucer in all recent Arden Shakespeare editions and in various editions of &quot;Troilus and Cressida&quot; and of &quot;The Two Noble Kinsmen.&quot; Shows that the attention is limited and cites critical trends that help to explain why.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270408">
    <dcterms:title><![CDATA[Shakespeare&#039;s &#039;Knight&#039;s Tale&#039;: &#039;Two Noble Kinsmen&#039; and the Tradition of Chivalry]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Shakespeare and Fletcher&#039;s &quot;Two Noble Kinsmen&quot; as written in commemoration of the chivalric ideals and sudden death of Henry, Prince of Wales, and composed &quot;under the creative discipline&quot; of KnT. For the playwrights, Chaucer&#039;s poem provided &quot;almost a perfect model&quot; for a &quot;varying focus between communal and private grief, qualified and interpreted by the rituals of funeral and marriage,&quot; appropriate to the death of Henry and the subsequent marriage of his sister, Elizabeth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263875">
    <dcterms:title><![CDATA[Shakespeare&#039;s &#039;Taming of the Shrew&#039; and Chaucer&#039;s Wife of Bath: The Struggle for Marital Mastery]]></dcterms:title>
    <dcterms:description><![CDATA[Both Petruchio and the Wife of Bath see their spouses as &quot;shrewish.&quot;  Like Chaucer, Shakespeare employs images of taming and teaching, clothes, hats, and kisses to &quot;reinforce the theme of mastery in marriage.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263880">
    <dcterms:title><![CDATA[Shakespeare&#039;s &#039;Troilus and Cressida&#039;: A Study of the Characters, Themes, and Sources]]></dcterms:title>
    <dcterms:description><![CDATA[Shakespeare depicts the Trojan War through the characters&#039; pride, hypocrisy, and materialism.  Examines TC, Chapman, and Caxton as sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265296">
    <dcterms:title><![CDATA[Shakespeare&#039;s &#039;Twelfth Night&#039;: &#039;The Miller&#039;s Tale&#039; Revisited]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s MilT and Shakespeare&#039;s &#039;Twelfth Night&#039; are analogues because each satirizes the conventions of courtly love.  Absolon, John, and Sir Andrew Aguecheek are &quot;genuine fools&quot; because they can be so easily duped, while Orsino and Viola &quot;manifest foolish attitudes.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Both Chaucer and Shakespeare expand the number of would-be lovers (four in Chaucer and six in Shakespeare), and both use sex-role reversal (effeminate Absolon and disguised Viola).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276494">
    <dcterms:title><![CDATA[Shakespeare&#039;s &quot;Henriadic&quot; Monarchy and Chaucerian/Elizabethan Religion.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines views of monarchy and Catholic/Protestant conflicts in Shakespeare&#039;s &quot;second tetralogy,&quot; plays set during and soon after Chaucer&#039;s lifetime. Includes discussion of Falstaff as a figure viewed &quot;through the lens of Chaucer&#039;s time&quot;--a figure of Jovinian excess who rejects penance, and recalls at points Chaucer&#039;s Wife of Bath, as well as the Summoner, Friar, and Pardoner as false clerics. In these plays, Shakespeare &quot;turns, for his salvific, from honest penance--Chaucer&#039;s solution--to royal contrition and honest action.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264812">
    <dcterms:title><![CDATA[Shakespeare&#039;s Chaucer: A Study in Literary Origins]]></dcterms:title>
    <dcterms:description><![CDATA[Elizabethan and Jacobean writers found Chaucer a major poet.  The poems most frequently used--TC, KnT, and ClT--show that they regarded Chaucer as a romantic not a comic writer.  He is used for a brief reference or quotation, a subsidiary source, or a full-scale plot.  Shakespeare&#039;s use is the most extensive and interesting; e.g., &quot;A Midsummer Night&#039;s Dream&quot; uses four works in different ways; KnT, LGW, MerT, PF.]]></dcterms:description>
    <dcterms:description><![CDATA[In &quot;Troilus and Cressida&quot; and &quot;The Two Noble Kinsmen,&quot; Shakespeare picks out details from several different places in Chaucer&#039;s poems to concentrate an effect in a single scene rather than following his source through.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263881">
    <dcterms:title><![CDATA[Shakespeare&#039;s Chaucerian Allegory: The Quest for Death in &#039;Romeo and Juliet&#039; and the Pardoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Both in &quot;Romeo and Juliet&quot; and in PardT &quot;the rhetoric through which death appears to be sought...is the means by which its reality and meaning are evaded.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275046">
    <dcterms:title><![CDATA[Shakespeare&#039;s Chaucerian Entertainers.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies characters throughout Shakespeare&#039;s canon who &quot;process and engage Chaucer&#039;s ideas on theater, authorship and performance,&quot; and demonstrate &quot;how Chaucer&#039;s poetry is relevant to drama and theatricality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276486">
    <dcterms:title><![CDATA[Shakespeare&#039;s Medieval Co-Authors.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how in each of two Shakespearean plays &quot;there is a co-authorship with a past author&quot;: Gower in &quot;Pericles&quot; and Chaucer in &quot;The Two Noble Kinsmen.&quot; Argues that the presentation of Chaucer as a source in the prologue in &quot;Kinsmen&quot; engages concern with procreation and authorship, and presens Chaucer as a &quot;pure and noble breeder&quot; of literature and a &quot;diachronic co-author&quot; with Shakespeare and Fletcher.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271590">
    <dcterms:title><![CDATA[Shakespeare&#039;s Memory]]></dcterms:title>
    <dcterms:description><![CDATA[Fantasy story about the transmission of Shakespeare&#039;s memory from one man to another; includes several references and allusions to Chaucer. The story was first published in Spanish in a limited edition. &quot;La Memoria de Shakespeare&quot;  (Buenos Aires: &quot;Dos Amigos,&quot; 1982); item not seen.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270409">
    <dcterms:title><![CDATA[Shakespeare&#039;s Merlin]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the figure of Pandarus-as-magician from Chaucer&#039;s TC and Shakespeare&#039;s &quot;Troilus and Cressida&quot; lies behind John Keats&#039;s allusion to Merlin in his &quot;Eve of St. Agnes.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275536">
    <dcterms:title><![CDATA[Shakespeare&#039;s Ovid and the Spectre of the Medieval.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Shakespeare&#039;s uses of Ovid in his plays and poems was largely mediated by medieval works, specifically ones by Chaucer and John Gower. Shows that the dream frame of BD influenced &quot;The Taming of the Shrew&quot; and &quot;Cymbeline,&quot; that Chaucer&#039;s (LGW) and Gower&#039;s versions of Ariadne underlie Julia of &quot;The Two Gentlemen of Verona,&quot; that the dawn-songs in TC and those in Gower influence &quot;The Rape of Lucrece&quot; and &quot;Romeo and Juliet,&quot; and that Gower&#039;s Narcissus of &quot;Confessio Amantis&quot; influenced &quot;Twelfth Night&quot; and other early modern works. Also discusses the seventeenth-century &quot;Chaucers Ghoast&quot; as an amalgamation of Gowerian versions of Ovidian material, presented in faux Middle English.]]></dcterms:description>
</rdf:Description></rdf:RDF>