<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/264822">
    <dcterms:title><![CDATA[Subtlety in Chaucer&#039;s expression--a dual view]]></dcterms:title>
    <dcterms:description><![CDATA[The simile applied to the Friar--&quot;His nekke &#039;whit&#039; was &#039;as the flour-de-lys&#039;&quot;--functions externally and internally.  The outward sign of his neck is symbolic of his inner degraded state of mind, which shows physiognomically a mark of licentiousness or depravity.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Kanno&#039;s Studies in Chaucer&#039;s Words Tokyo: Eihosha, 1996), pp. 3-13.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269744">
    <dcterms:title><![CDATA[Subversive Fantasist: Tolkien on Class Difference]]></dcterms:title>
    <dcterms:description><![CDATA[In his fiction, Chance contends, Tolkien subverts traditional class distinctions, and his studies of Chaucer reflect a similar sensibility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266997">
    <dcterms:title><![CDATA[Subversive Voices in Chaucer&#039;s House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[To find his own poetic voice, Chaucer&#039;s dreamer in HF impersonates the non-canonical subjectivities and voices of women and animals in the form of Dido, the eagle, and the monster-woman Fame. By doing so, he turns away from masculine literary authority to explore alternative authority based on orality and the natural world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277393">
    <dcterms:title><![CDATA[Succéder à Chaucer dans l&#039;Angleterre du XVe siècle.]]></dcterms:title>
    <dcterms:description><![CDATA[Affiliates the success, succession, and monumentalization of Chaucer in fifteenth-century literature with Lancastrian ascendancy and status, quoting and analyzing excerpts from Hoccleve, Lydgate, and Caxton.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270438">
    <dcterms:title><![CDATA[Sudden Glory: Laughter as Subversive History]]></dcterms:title>
    <dcterms:description><![CDATA[A history of laughter in Western literature, focusing on the relation between laughter and literature, and surveying ancient, medieval, and modern traditions. In his Introduction, Sanders credits Chaucer with associating the roles of the feminine (Alison of MilT and the Wife of Bath) and the oral in comic literature.  In chapter six, &quot;Chaucer Punches the First Joke Home&quot; (pp. 165-92), he treats MilT as the &quot;first &#039;joke&#039; in the English language,&quot; aimed in envy by the Miller at his rival, the Reeve, and a dramatization of Carnival in tension with Lent.  In CT, Chaucer fuses laughing, joking, and storytelling, and MilT provides the first &quot;punch line&quot; in English--comic, aggressive, and timely, and converting &quot;invidia&quot; (envy) into &quot;caritas&quot; (charity).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264228">
    <dcterms:title><![CDATA[Suddenness and Process in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[The words &quot;sodeny(ly)&quot; and &quot;proces&quot; are keys to Chaucer&#039;s narrative skill.  In both his serious and his comical narratives there are sudden changes in events, sudden shifts in emotions.  He usually makes the sudden seem humorous, ridiculous, or contemptible.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271829">
    <dcterms:title><![CDATA[Suffer the Little Children; or, A Rumination on the Faith of Zombies]]></dcterms:title>
    <dcterms:description><![CDATA[Imagines the singing clergeon of PrT as a sort of zombie whose zombie faith is echoed by the Prioress.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275238">
    <dcterms:title><![CDATA[Suffering Bodies in the &quot;Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores &quot;mortal embodiment&quot; in KnT, particularly in the descriptions of Arcite&#039;s lovesickness, injuries, and death, contrasting their physicality with the metaphysical perspective of Theseus&#039;s final speech. Designed for pedagogical use, includes several questions for discussion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270918">
    <dcterms:title><![CDATA[Suffering in the Service of Venus: The Sacred, the Sublime, and Chaucerian Joy in the Middle Part of the &#039;Parliament of Fowls&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Without a shift in tone, Chaucer both appreciates and censures the fruitless love depicted in the Temple of Venus in PF. By fusing &quot;joy and judgment,&quot; he evokes paradoxically the &quot;deeper joy&quot; of beauty.]]></dcterms:description>
    <dcterms:description><![CDATA[Revised version of &quot;Surprised by Joy: Chaucer&#039;s Tonal Achievement in &#039;Parliament of Fowls,&#039; 92-294.&quot; In Michel Desjardins and Harold Remus, eds. Tradition and Formation: Claiming an Inheritance: Essays in Honour of Peter C. Erb (Kitchener, Ont.: Pandora Press, 2008), pp. 213-28.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269418">
    <dcterms:title><![CDATA[Sufism and English Literature: Chaucer to the Present Age - Echoes and Images]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys British literary responses to &quot;some aspects of the Muslim spiritual system,&quot; identifying instances in which British literature was influenced by Sufi mysticism or reflects awareness of it. Includes summary (pp. 37-39) of parallels between Middle Eastern narratives and Chaucer&#039;s CT and PF; also mentions his &quot;general awareness of Muslim people and their faith&quot; in MLT and SqT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267372">
    <dcterms:title><![CDATA[Sui Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses CT as a web of Tales and voices, focusing on KnT, MilT as a response to KnT, the Marriage Group, and Chaucer&#039;s Italian sources, especially Boccaccio. Includes sections on the adaptations of KnT in Shakespeare, in Fletcher&#039;s &quot;Two Noble Kinsmen,&quot; and in Dryden&#039;s modernization.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263785">
    <dcterms:title><![CDATA[Summa virtutum de remediis anime]]></dcterms:title>
    <dcterms:description><![CDATA[The anonymous &quot;Summa,&quot; dating from the middle of the thirteenth century, is the ultimate source of the &quot;remedia&quot; sections of Chaucer&#039;s ParsT.  This critical edition, based on one of the nine surviving manuscripts, is accompanied by a translation facing the Latin.]]></dcterms:description>
    <dcterms:description><![CDATA[The introduction deals with the contents, background, date, authorship, correspondences between the &quot;Summa&quot; and Chaucer&#039;s &quot;remedia,&quot; relations of the manuscripts, and principles on which the edition is based.  The edition demonstrates close verbal parallels for most of Chaucer&#039;s lines on the &quot;remedia.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265741">
    <dcterms:title><![CDATA[Summary of Anthony G. Cains&#039;s Report on the Preparation of the Ellesmere Manuscript for the New Facsimile, the Repair (and History of Repair) of the Manuscript, and Its Rebinding]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes the operations and observations attendant upon restoring, photographing, and rebinding Ellesmere during preparation of the new facsimile.]]></dcterms:description>
    <dcterms:description><![CDATA[Considers conservation necessary for the photography, new discoveries concerning the history of the manuscript and of its two bindings, repairs made during the present rebinding,and the process of rebinding the manuscript in an &quot;early-fifteenth-century-English-style.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261587">
    <dcterms:title><![CDATA[Sundry Ways of Love, Medieval Style]]></dcterms:title>
    <dcterms:description><![CDATA[Accounts of love from chronicles and letters show that historical love in the Middle Ages was as rich, varied, and earthy as even Chaucer could imagine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262526">
    <dcterms:title><![CDATA[Sunset, Flowers, and Leaves: Tradition and Tragic Images]]></dcterms:title>
    <dcterms:description><![CDATA[Examines human beings, nature, and poetic tropes in certain classical writers, in Dante, and in Chaucer&#039;s PF and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273229">
    <dcterms:title><![CDATA[Supposed Antifeminism in Chaucer&#039;s &#039;Troilus and Criseyde&#039; and Its Retraction in &#039;The Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that both TC (particularly the Epilogue) and LGW evince Chaucer&#039;s &quot;good-natured humor&quot; which is &quot;never vicious&quot; but rather &quot;shows a warm and compassionate understanding of the foibles of human beings, regardless of their sex.&quot; LGW is a &quot;mock palinode&quot; to TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266535">
    <dcterms:title><![CDATA[Supposed Satiric Pointers in Chaucer&#039;s &#039;Squire&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Replies to M. C. Seymour&#039;s identification of seven satiric loci in SqT arguing that Chaucer&#039;s manipulations of convention may be seen as innovation rather than parody.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261373">
    <dcterms:title><![CDATA[Surface and Secret in the Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[In KnT, Chaucer manipulates devices of genre and rhetoric to achieve a highly sophisticated subtext of opacity and of perversion of order.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268501">
    <dcterms:title><![CDATA[Surface et profondeur: Mélanges offerts à Guy Bourquin à l&#039;occasion de son 75e anniversaire]]></dcterms:title>
    <dcterms:description><![CDATA[For two essays that pertain to Chaucer, search for Surface et profondeur under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275799">
    <dcterms:title><![CDATA[Susannah and the &quot;Merchant&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Daniel 13.20 is a source of or influence on details of MerT 5.2138-48, and suggests that pictorial representations of Susannah and the Elders and details from the alliterative poem &quot;Susannah&quot; reveal ironic dimensions in Chaucer&#039;s scene of January and May in a closed garden.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270018">
    <dcterms:title><![CDATA[Sutured Looks and Homoeroticism: Reading Troilus and Pandarus Cinematically]]></dcterms:title>
    <dcterms:description><![CDATA[Zeikowitz articulates the &quot;largely unnarrated &#039;ocular logic&#039; of the exchanges between Troilus and Pandarus&quot; in Book 1 of TC and &quot;teases out the subtle homoeroticism underlying their interaction.&quot; The essay focuses on  the cinematic technique of &quot;suturing,&quot; whereby the audience is drawn into a character&#039;s perspective without initially being aware of the point of view.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267044">
    <dcterms:title><![CDATA[Swears &#039;By St. So-and-So&#039; : The Pardoner Cut into Pieces]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the swearing by St. Ronyon in PardP and explores its dark ironies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261775">
    <dcterms:title><![CDATA[Sweet Persuasion: The Subject of Fortune in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Explains Fortune as a figure that embodies historical flux and affirms aristocratic privilege.  In TC, references to Fortune do not provide a philosophical norm against which to test the attitudes of the characters; the references assert politically the &quot;inevitability of patriarchal power.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270683">
    <dcterms:title><![CDATA[Sweet Poison and Its Antidote: Troilus and Criseyde and the &#039;Disce mori&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the location and implications of one stanza from TC (1.400-406) as quoted in the &quot;Disce mori,&quot; a fifteenth-century manual of religious instruction addressed to &quot;Dame Alice.&quot; The quotation indicates that some may have read TC as a warning against secular love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265990">
    <dcterms:title><![CDATA[Sweetness and Sweat: The Extraordinary Emanations in Fragment Eight of the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[By emphasizing the contrast between excessive sweat in CYT and its absence in SNT, Chaucer indicates the disjunction between carnal and spiritual.]]></dcterms:description>
    <dcterms:description><![CDATA[  In addition, Cecilia&#039;s &quot;bath of flambes&quot; suggests the purifying water of baptism as opposed to the &quot;watres corosif&quot; of CYT.]]></dcterms:description>
    <dcterms:description><![CDATA[  Finally, Chaucer capitalizes on the similitude of &quot;sweten&quot; (to sweat) and &quot;sweten&quot; (to sweeten), wordplay also used in Form Age.]]></dcterms:description>
</rdf:Description></rdf:RDF>