<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/274898">
    <dcterms:title><![CDATA[Shakespeare&#039;s Pub: A Barstool History of London as Seen Through the Windows of Its Oldest Pub--The George Inn.]]></dcterms:title>
    <dcterms:description><![CDATA[A popular history of the George Inn, Southwark, located next to where the Tabard once stood. Includes various references to the Tabard Inn in history and in CT, and includes a chapter called &quot;The Poet&#039;s Tale, Or, How English Literature Was Born in a Southwark Inn&quot; (pp/ 99-117), with comments on what CT and the prologue to the &quot;Tale of Beryn&quot; disclose about drinking establishments of Chaucer&#039;s time, including differences between an inn and an alehouse. Also comments on different attitudes toward drinking in CT and in &quot;Piers Plowman.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267521">
    <dcterms:title><![CDATA[Shakespeare&#039;s Reading]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the literature with which Shakespeare was familiar, as reflected in his works, their sources, their allusions, etc. Discusses the relationship of Two Noble Kinsmen to KnT and of Troilus and Cressida to TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275773">
    <dcterms:title><![CDATA[Shakespeare&#039;s Reading in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies a number of images, expressions, and &quot;notional similarities&quot; that evince Chaucer&#039;s influence on Shakespeare, reviewing previous scholarship, adding several examples, and arguing that the influence is strongest when Shakespeare was about thirty years old. Dissuades arguments that Shakespeare used Chaucer&#039;s plots. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261247">
    <dcterms:title><![CDATA[Shakespeare&#039;s Romantic Innocents and the Misappropriation of the Romance Past: The Case of The Two Noble Kinsmen]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the characterizations of Theseus and Emily in &quot;The Two Noble Kinsmen&quot; and KnT, focusing on how the play challenges the principles of romance by manipulating Chaucerian material and perspective. Revised slightly as &quot;(Mis)Appropriating the Romance Past in&#039;&quot;The Two Noble Kinsmen&#039;,&quot; in Hillman&#039;s Intertextuality and Romance in Renaissance Drama: The Staging of Nostalgia (Houndmills, Basingstoke: Macmillan, 1992), pp. 136-54.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270963">
    <dcterms:title><![CDATA[Shakespeare&#039;s Sonnets and Narrative Poems]]></dcterms:title>
    <dcterms:description><![CDATA[This collection of critical essays by Cousins includes a discussion of Shakespeare&#039;s &quot;Lucrece,&quot; part of which is entitled &quot;Versions of the Lucretia Story by Ovid, Livy, Boccaccio, Chaucer and Gower&quot; (pp. 48-58), a survey of the various accounts which emphasizes what Shakespeare may have derived from his predecessors. The section on Chaucer focuses on the role and aggressiveness of Collatine in LGW and the mingling of pagan and Christian perspectives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269070">
    <dcterms:title><![CDATA[Shakespeare&#039;s Troilus and Cressida : Tragedy, Comedy, Satire, History of Problem Play?]]></dcterms:title>
    <dcterms:description><![CDATA[Einersen examines genre markers in versions of the story of Troilus and Criseyde (including Chaucer&#039;s claims for tragedy in TC) as background to a discussion of Shakespeare&#039;s play as a &quot;historical-tragical-comical-satirical problem play.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262589">
    <dcterms:title><![CDATA[Shakespeare&#039;s Use of Chaucer in &#039;Troilus and Cressida&#039;: &#039;That the will is infinite, and the execution confirmed&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Shakespeare&#039;s play, though derived from Chaucer, differs from its source in many ways.  Shakespeare&#039;s Pandarus is a less tender, more hardened figure; his Cressida is psychologically and socially more vulnerable; his Troilus is more openly sexual.  The greatest divergences between the two are Cressida&#039;s lament for Troilus when they part (Shakespeare thus inverts Chaucer) and the survival of Troilus at the end of the play.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267972">
    <dcterms:title><![CDATA[Shakespeare&#039;s Use of Marlowe in As You Like It]]></dcterms:title>
    <dcterms:description><![CDATA[Staunton describes Shakespeare&#039;s allusions to Marlowe in As You Like It. Touchstone&#039;s and Rosalind&#039;s references to Troilus as a lover engage TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271477">
    <dcterms:title><![CDATA[Shakespearean Medievalism and the Limits of Periodization in &#039;Cymbeline&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the idea of Renaissance &quot;medievalism,&quot; and reviews recent studies of the topic, focusing on Shakespeare and arguing that FranT is a &quot;key source&quot; of Cymbeline, which &quot;resists the traditional borders and boundaries of periodization.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271217">
    <dcterms:title><![CDATA[Shame and Guilt in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[In Chaucer&#039;s poetry, guilt is represented as an &quot;ethical ideal,&quot; whereas shame is often &quot;portrayed as the psychological reality&quot; that disrupts attempts to &quot;realize the ideal.&quot; Throughout his poetry, but especially in CT, Chaucer articulates &quot;the public and private aspects of these emotions,  and the &quot;injustice of guiltless shame&quot; is depicted recurrently in the figures of female victims such as Dido, Criseyde, Virginia, and Dorigen.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271883">
    <dcterms:title><![CDATA[Shame and Guilt in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[HF, TC, and CT more commonly represent shame (an exterior phenomenon) than guilt (an interior one); in dialogue with late medieval penitential theology, they suggest the narrative invisibility of guilt. HF and TC tackle the plausibility, in pagan contexts, of shame without guilt. KnT and PhyT correlate communal representations of honor with the necessity of sacrifice to efface communal shame. WBT, FranT, and Mel posit shame&#039;s redemptive role in romance. PardT plays an embodied narrative shame against the narrative breakdown of guilt-representation in ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271956">
    <dcterms:title><![CDATA[Shamed Guiltless: Criseyde, Dido, and Chaucerian Ethics]]></dcterms:title>
    <dcterms:description><![CDATA[Examines shame as a force in identity construction and a constraint on female agency, focusing on Criseyde in TC and Dido in HF, and briefly mentioning LGW. As an historical force, shame also determines narrative possibilities in these poems.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267695">
    <dcterms:title><![CDATA[Shameful Pleasures : Up Close and Dirty with Chaucer, Flesh, and the Word]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer set the standard for discourse on heterosexuality and modernity, even though modern study has written over his &quot;queer touch.&quot; Exemplifies the gendered instability of Chaucer&#039;s text by contrasting the normativizing power of marriage and queer performativity. For a response, see Larry Scanlon&#039;s &quot;Return of the Repressed,&quot; pp. 284-301 in the same volume.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269238">
    <dcterms:title><![CDATA[Shameless and Naked Images: Obscene Badges as Parodies of Popular Devotion]]></dcterms:title>
    <dcterms:description><![CDATA[Koldeweij comments on pilgrim badges and related materials mentioned in CT and illustrated in the Ellesmere manuscript. The commentary introduces a discussion of obscene badges (ca. 1350-ca. 1450) intended to mock pilgrimage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262860">
    <dcterms:title><![CDATA[Shape (vb)]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses &quot;abusive&quot; (&quot;shape&quot;:&quot;ape&quot;) and &quot;pregnant&quot; (&quot;shapen&quot;:&quot;scapen&quot;, as in KnT 1107-1108) rhyme linkings in Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267907">
    <dcterms:title><![CDATA[Shapes of Desire : Representing the Body in &#039;Troilus and Criseyde&#039; and &#039;Celestina&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Women in TC and Fernando de Rojas&#039;s &quot;Celestina&quot; seek to establish themselves and their fates through &quot;control of language,&quot; but rhetorical control gives way as men eventually become subjects and women objects of physical desire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277625">
    <dcterms:title><![CDATA[Shapeshifting and Associated Phenomena as Conventions of the Middle English Metrical Romances.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the &quot;shapeshifting motif&quot; in English literature from &quot;Beowulf&quot; to the late-medieval metrical romances, focusing on the latter. Chapter five includes attention to WBT as an example of the &quot;human-to-human type of shapeshift,&quot; along with seven other romances.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277050">
    <dcterms:title><![CDATA[Shaping Absurdity in Medieval Romance: &quot;Reductio ad absurdum&quot; as Narrative Structure]]></dcterms:title>
    <dcterms:description><![CDATA[Explores &quot;reductio ad absurdum&quot; in &quot;theology and romance texts of the twelfth to fourteenth centuries,&quot; including discussion of Chaucer&#039;s uses of it as &quot;a marker of generic resistance to chivalric romance&quot; in KnT and ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274738">
    <dcterms:title><![CDATA[Shaping the Archive in Late Medieval England: History, Poetry and Performance]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how &quot;poetic form, staging logistics, and the status of performance&quot; contribute to our understanding of how medieval thinkers imagined the &quot;ethics and pleasures of the archive.&quot; Includes discussion of HF, MLT, MilT, and Rom.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269805">
    <dcterms:title><![CDATA[Shaping the Nation: England, 1360-1461]]></dcterms:title>
    <dcterms:description><![CDATA[Harriss studies English social and political history from the Hundred Years&#039; War to the Wars of the Roses as a period of cultural transformation that established the &quot;shape of English society and government&quot; that &quot;it was to retain until the Civil War.&quot; Recurrent attention to Chaucer&#039;s life and works as well as to those of other authors of the period, including discussion of court patronage, the rise of vernacular literature, literature among the &quot;gentry,&quot; and literary impact on political models. Includes a chronology, a bibliography, and an index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275489">
    <dcterms:title><![CDATA[Shared Exemplars and the Creation of Miscellanies in the Manuscripts of &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes and extends recent scholarship on Guildhall scribe Richard Osbarn, and assesses his work, focusing on two TC manuscripts to which he contributed: San Marino, Huntington Library, MS HM 114, and London, British Library, MS Harley 3943. Examines paratextual aspects of the two--particularly their marginal glosses--and what they may imply about Osbarn&#039;s exemplar(s) and the text of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267942">
    <dcterms:title><![CDATA[Sharing Chaucer&#039;s Authority in Prefaces to Chaucer&#039;s Works from William Caxton to William Thynne]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses prefaces to CT as marketing and self-promotion that linked the authority of editors and a dedicatee, Henry VIII, to the authority of the author.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275220">
    <dcterms:title><![CDATA[Sharing Minds in Panchrony: Chaucer&#039;s &quot;Fortune&quot; and &quot;Truth.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Uses the Boethian imagery of Fortune and her wheel in For and Truth to clarify &quot;situated cognition,&quot; exemplifying how visual images can enable cultural transmission across time.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271681">
    <dcterms:title><![CDATA[Sharing Spaces: Female Hospitality in Chaucerian Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the hospitality of female characters in LGW, showing that the betrayal suffered by these women is not the result of their fickleness but of a failure of the courtly code.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266697">
    <dcterms:title><![CDATA[Sharing Story: Medieval Norse-English Literary Relationships]]></dcterms:title>
    <dcterms:description><![CDATA[Seventeen essays by Taylor on the conjoining of Christian with native pagan thought in Norse and English medieval literary contexts. ]]></dcterms:description>
    <dcterms:description><![CDATA[Chapter 16, &quot;Norse Story in &#039;The Canterbury Tales&#039;&quot; (pp. 233-44), discusses two folk-tale versions of Nordic mythological materials that appear in Chaucer.  Part I of the chapter, &quot;The Pardoner&#039;s Old Man and the One-eyed God,&quot; demonstrate the Old Man&#039;s similarities to the Odin tradition, while Part II, &quot;The Wife of Bath and the Snowshoe Goddess,&quot; discusses Alisoun&#039;s indebtedness to the motifs of the Icelandic Skadi.]]></dcterms:description>
</rdf:Description></rdf:RDF>