<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/264309">
    <dcterms:title><![CDATA[Signs, Symbols, and Cancellations]]></dcterms:title>
    <dcterms:description><![CDATA[While &quot;Robertsonianism&quot; has produced scholastically defensible but totally lunatic readings, such as MilT as a &quot;Christian meditation,&quot; it has also brilliantly illuminated BD.  Its chief failure is tone deafness toward WBT, HF, etc.  PF, LGW, TC, Anel, MkT, MilT have been shown much richer than we knew.  CYT cancels SNT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267376">
    <dcterms:title><![CDATA[Silence or Shame : How Women&#039;s Speech Contributes to Generic Conventionality and Generic Complexity in The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys interactions between women&#039;s speech and silence, on the one hand, and generic conventions, on the other, in KnT, WBT, ClT, MerT, FranT, and ShT. Chaucer variously confirms or complicates the expectations about female speech embedded in the genres of romance and fabliaux.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268146">
    <dcterms:title><![CDATA[Silenced but Not Stifled: The Disruptive Queer Power of Chaucer&#039;s Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[The Pardoner&#039;s &quot;altercation&quot; with the Host &quot;reveals how queer power disarms heteronormativity.&quot; In GP and PardPT, the Pardoner does not fit modern categories of &quot;gay&quot; or &quot;bisexual&quot;; his queerness is aligned with several forms of verbal and social power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268236">
    <dcterms:title><![CDATA[Silent Retribution in Chaucer: The Merchant&#039;s Tale, the Reeve&#039;s Tale, and the Pardoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Clearly implied but not stated, May&#039;s pregnancy in MerT results from having sex with Damian and helps to punish January&#039;s foolishness. In similarly covert ways, the parson of RvT is punished by the pregnancy of Malyne, and all pardoners are criticized through the Host&#039;s response at the end of PardT. Such covert meanings indicate Chaucer&#039;s sympathies with Wycliffite thought.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277624">
    <dcterms:title><![CDATA[Similes in the Works of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Chaucer&#039;s uses of various kinds of similes and similetic comparisons--Homeric, epic similes; biblical &quot;similitudes&quot;; proverbial comparisons, Ovidian and Dantean comparisons; and more--demonstrating his variety, borrowings, and adaptations. Assesses Chaucer&#039;s techniques across various genres throughout his corpus, both poetry and prose.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271564">
    <dcterms:title><![CDATA[Similitudes, Divergences et Réécriture dans &#039;The Parliament of Fowls&#039; de Chaucer (XIVème siècle) et &#039;The Conference of the Birds&#039; de Farid Ud-Din Attar (XIIème)]]></dcterms:title>
    <dcterms:description><![CDATA[This comparative study of the two texts, based on the same motif of the gathering of birds, aims at exposing the spiritual and moral differences of the works. The theological and philosophical intention in Attar has disappeared in Chaucer&#039;s treatment of the &quot;parlement&quot; rooted in the 14th century society of merchants.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275821">
    <dcterms:title><![CDATA[Simkin&#039;s Camus Nose: A Latin Pun in the &quot;Reeve&#039;s Tale&quot;?]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the miller&#039;s name in RvT, Simkin, puns on Latin &quot;simus,&quot; meaning &quot;snub-nosed,&quot; offering classical examples of similar wordplay and identifying characters with similar names in classical comedy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276157">
    <dcterms:title><![CDATA[Simon Magus and his &quot;Miseri Seguaci&quot;: Dante&#039;&#039; Simonists and Chaucer&#039;s &quot;Summoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Dante in Canto XIX of his &quot;Inferno,&quot; and Chaucer in SumT, &quot;show essentially the same pervasive effects of simony in essentially the same manner,&quot; using similar &quot;images of and parodic allusions to&quot; the sin. However, the poets differ in their &quot;inverse use of friars [which] is likely a result of their differing political and ecclesiastical environments.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274107">
    <dcterms:title><![CDATA[Simple Forms: Essays on Medieval English Popular Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how the &quot;lost culture&quot; of oral literary and folk and popular traditions of the Middle Ages influenced medieval writers. Mentions Chaucer&#039;s understanding of proverbs and oral and folk culture in ClT, WBT, MLT, FranT, and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264339">
    <dcterms:title><![CDATA[Simple Signs from Everyday Life in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Concerned with the practical and beneficial impact of his work, Chaucer drew figurative language from everyday sources, e.g., the visual arts.  Knowledge of these sheds light on GP, WBT, and RvT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273290">
    <dcterms:title><![CDATA[Simplicity and Directness in Chaucer&#039;s Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[A doctoral dissertation that explores &quot;simple and direct communication&quot; in CT, focusing on Chaucer&#039;s acceptance of human generosity and humility rather than his criticism or satire of human foibles. Individual chapters include discussion of Chaucer&#039;s audience, his female characters, the &quot;Woman Question,&quot; man and woman, and superiority and inferiority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268594">
    <dcterms:title><![CDATA[Simply Marvelous]]></dcterms:title>
    <dcterms:description><![CDATA[Fradenburg contemplates medieval romance as a product of desire and a producer of jouissance. Considers the functions and values of wonder; the enjoyment and signification of romance; and the relationships of wonder to &quot;vernacularity,&quot; technology, weariness, and realism.]]></dcterms:description>
    <dcterms:description><![CDATA[Comments on SqT, Th, TC, and a number of other texts: &quot;Sir Gawain and the Green Knight,&quot; the &quot;Tain bo Cuailinge,&quot; &quot;Culhwch &amp; Olwen,&quot; and other narratives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274079">
    <dcterms:title><![CDATA[Sin and Filth in Medieval Culture: The Devil in the Latrine.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the presence and significance of the anus and excrement in medieval culture, particularly the religious thought and literature of the age. Includes brief comments on Chaucer&#039;s references to dung, farting, and rear-ends in MilT, MerT, SumP, and the GP description of the Plowman.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269023">
    <dcterms:title><![CDATA[Sin and Sensibility : The Conscience of Chaucer&#039;s Prioress]]></dcterms:title>
    <dcterms:description><![CDATA[In the GP description of the Prioress, the term conscience, used to describe her mental operations, implies not sensibility or emotion but rather prescription or governance. The Prioress&#039;s display is not emotive but mimetic, and her performance reveals the moral disengagement of the court and cloister.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266875">
    <dcterms:title><![CDATA[Sin, Sight, and Sanctity in the Miller&#039;s Tale: Why Chaucer&#039;s Blacksmith Works at Night]]></dcterms:title>
    <dcterms:description><![CDATA[The blacksmith is an ambiguous figure. Medieval blacksmiths often worked at night because the temperature was cooler, but ordinances forbade them to do so. Furthermore, although the medieval blacksmith was a symbol of the devil, he was also a symbol of the preacher and of St. Gervasius, who restored sight to the blind. In MilT, a burlesque preacher has left a burlesque penitent, Absolon, spiritually blind.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263270">
    <dcterms:title><![CDATA[Sin, the Lady, and the Law]]></dcterms:title>
    <dcterms:description><![CDATA[In the contexts of medieval misogyny and penitential manuals, Braswell examines Chaucer&#039;s treatment of the sins of women in ParsT.  The Parson denounces excess in dress among lords more severely than among ladies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277577">
    <dcterms:title><![CDATA[Sincerity in Medieval English Language and Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Pragmatic analysis of the historical development in early English of the ideal of sincerity and of &quot;affective-linguistic&quot; apology. Identifies the roots of sincerity in Christian devotion and traces its literary and historical developments among intersections between devotional and courtly literatures as they reflect and affect human emotions. Includes comments on BD and lengthier discussion of CT (especially Mel) while exploring the growth of &quot;apologetic culture.&quot; Also examines questions of &quot;affective sincerity versus linguistic performance&quot; in TC, particularly how they lead readers &quot;to be convinced of Criseyde’s sincere, compassionate love.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271085">
    <dcterms:title><![CDATA[Sinclair Lewis as Reader and Critic]]></dcterms:title>
    <dcterms:description><![CDATA[Comments briefly on references to Chaucer in the fiction and criticism of Sinclair Lewis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270917">
    <dcterms:title><![CDATA[Sing To Celebrate Summer (2010): For Tenor, Harp, and Optional Audience Participation]]></dcterms:title>
    <dcterms:description><![CDATA[Musical score for a normalized-spelling version of the closing song (rondel) of PF (ll. 680-92). Performance notes suggest harp effects and ways to involve audience participation.  Commissioned by the Buck Hill-Skytop Music Festival.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266552">
    <dcterms:title><![CDATA[Singing Bread, Manna, and the Clergeon&#039;s &#039;Greyn&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;greyn&quot; placed on the little child&#039;s tongue by the Virgin in PrT represents the Eucharistic Host, also known as &quot;singing bread.&quot;  &quot;Greyn&quot; means &quot;particle,&quot; such as that broken from the wafer.  The viaticum possessed properties of restoration and health; one portion was reserved for the sick and dying to assure a passage into heaven.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265196">
    <dcterms:title><![CDATA[Singing Clearly: Chaucer, Dryden, and a Rooster&#039;s Discourse.]]></dcterms:title>
    <dcterms:description><![CDATA[Dryden&#039;s praise of Chaucer in his preface to &quot;Fables Ancient and Modern&quot; is part of the critical orthodoxy of Chaucer&#039;s reception, but Dryden&#039;s reading/translation of NPT in the &quot;Fables&quot; has largely been ignored.  The latter&#039;s alteration of the gender relationships in NPT provides a necessary counterpoint to the tradition of Chaucer&#039;s reception.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269953">
    <dcterms:title><![CDATA[Singing the New Song: Literacy and Liturgy in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how liturgical training and practice, particularly the interrelated devotional activities of singing and reading, affected literacy in late medieval England. Lay devotional ritual became separated from clerical practice, and definitions of &quot;literate&quot; shifted from &quot;repertory based knowledge&quot; to development of skills--both changes resulting in an increase in &quot;extragrammatical&quot; liturgical activity and new uses for liturgical texts. Zieman considers the impact of such practices on the apologia of &quot;Piers Plowman&quot; C.5 and on Chaucer&#039;s PrT and SNT, examining how the poets represent contemporary anxiety about public verbal production and performance of spoken and written rituals. The pairing of PrT and SNT is paralleled by Th and Mel.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261260">
    <dcterms:title><![CDATA[Singing, Dancing and Playing in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses how words of specific actions--such as &quot;sing,&quot; &quot;dance,&quot; and &quot;play&quot;--operate lexically and how they can help produce a courtly atmosphere by expressing the joy of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264072">
    <dcterms:title><![CDATA[Sippurei Canterbury]]></dcterms:title>
    <dcterms:description><![CDATA[Analysis of Shimon Sandback&#039;s Hebrew translation of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273406">
    <dcterms:title><![CDATA[Sipure Kanterberi (Canterbury Tales).]]></dcterms:title>
    <dcterms:description><![CDATA[A WorldCat record indicates that this is a Hebrew translation of Peter Ackroyd&#039;s 2009 modernization of CT; item not seen.]]></dcterms:description>
</rdf:Description></rdf:RDF>