<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/273497">
    <dcterms:title><![CDATA[&quot;That Reliance on the Ordinary&quot;: Jane Austen and the &quot;Oxford English Dictionary.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that while quotations of Austen in the revised OED have increased in number overall, those of female authors are still extraordinarily low when compared to the canonical literary male authors: Shakespeare (c. 33,000), Walter Scott (c. 15,000), Milton (c. 12,000), and Chaucer (c. 11,000).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273410">
    <dcterms:title><![CDATA[&quot;That swevene hath Daniel unloke&quot;: Interpreting Dreams with Chaucer and the Harley Scribe.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s use of dream visions and the &quot;Somniale&quot; tradition as contrasted with that of the Harley scribe. While Chaucer is suspicious, the Harley scribe uses the tradition as a source of knowledge. Includes an edition and translation of London, British Library, MS Royal 12.C.xii &quot;Somniale Danielis.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276271">
    <dcterms:title><![CDATA[&quot;That We May Leere Som Wit.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Critical appreciation of PardT as &quot;brilliantly constructed, simultaneously a parody of the very truths it purports to be about and a joke in which we are never quite sure of the butt&quot;; pays particular attention to its &quot;ragged structure&quot; and how it &quot;finally implicates us.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276500">
    <dcterms:title><![CDATA[&quot;That&#039;s what you get for being food&quot;: Margaret Atwood&#039;s Symbolic Cannibalism.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on several &quot;manifestation[s] of the medieval&quot; in the writings of Margaret Atwood, focusing on her &quot;response to the patriarchal standards and conventions of the courtly tradition.&quot; Identifies connections with Chaucer&#039;s motif of &quot;enditynge,&quot; the open-endedness of his narratives, and the Petrarchan &quot;concept of the &#039;devouring&#039; male gaze&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273867">
    <dcterms:title><![CDATA[&quot;The Ancient Mariner&quot; and &quot;The Squire&#039;s Tale,&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that SqT 5.393-94 (description of the sun) may have inspired a detail in Coleridge&#039;s &quot;Ancient Mariner,&quot; line 180.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273547">
    <dcterms:title><![CDATA[&quot;The broken schippus he ther fonde&quot;: Shipwrecks and the Human Costs of Investment Capital in Middle English Romance.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses MLT within an analysis of shipwrecks and depictions of seashores in Middle English romances.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273661">
    <dcterms:title><![CDATA[&quot;The Canon Yeoman&#039;s Tale&quot;: An Interpretation.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers CYPT to be &quot;highly moralistic,&quot; a poem that addresses the &quot;nature and the consequences of man&#039;s transgression against the will of God.&quot; Signaled by juxtaposition with SNPT and appropriate to placement near the end of CT, CYPT is anagogical, concerned with damnation and salvation; the Canon symbolizes Satan; alchemy, the antithesis of grace.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276316">
    <dcterms:title><![CDATA[&quot;The Canon&#039;s Yeoman&#039;s Prologue and Tale&quot;: An Interpretation.]]></dcterms:title>
    <dcterms:description><![CDATA[Characterizes the Canon&#039;s Yeoman as &quot;a clever young man, almost too clever for his own good,&quot; a comic figure whose renunciation of the Canon and of alchemy is marked by shifting identities and ambiguities which indicate ironically the Yeoman&#039;s own inconsistencies and failure to understand fully his own actions and outlooks.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275379">
    <dcterms:title><![CDATA[&quot;The Canon&#039;s Yeoman&#039;s Prologue&quot; and &quot;Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Claims that CYT &quot;depends on the metaphor of alchemy for both characterization and structure,&quot; discussing the Canon&#039;s Yeoman as a &quot;fearful, naive, but by no means static&quot; character and exploring the use of vocabulary of literary romance in his materials in combination with varying attitudes to alchemy to produce a &quot;complex sense of the whole personality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275171">
    <dcterms:title><![CDATA[&quot;The Canterbury Tales&quot; (Geoffrey Chaucer, 14. Jahrhundert).]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;religiös motivierte Xenophobien&quot; (religiously motivated xenophobia) of PrT and comments on the degree to which it may be considered satirical.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273893">
    <dcterms:title><![CDATA[&quot;The Canterbury Tales&quot; and Late Fourteenth Century Chivalry: Literary Stylization and Historical Idealism.]]></dcterms:title>
    <dcterms:description><![CDATA[Uses late-medieval literary and historical sources to define the Anglo-French ideal of a &quot;perfect knight,&quot; and applies this understanding to KnT, MkT, WBT, and FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273787">
    <dcterms:title><![CDATA[&quot;The Canterbury Tales&quot;: Style of the Man and Style of the Work.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes and comments on Chaucer&#039;s characteristic style, explaining how &quot;insouciance&quot; and &quot;naturalness&quot; combine with forward narrative movement, mastery of meter, formal listings, etc. to demonstrate his &quot;great technical range.&quot; Then explores how in CT he manipulates style to convey theme and character, assessing the styles of individual Tales as courtly or idealistic, realistic, mixed, pathetic and/or ironic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274721">
    <dcterms:title><![CDATA[&quot;The Chaucer Review&quot;: Then and Now.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the changes and continuities of fifty years of the journal &quot;Chaucer Review.&quot;.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276586">
    <dcterms:title><![CDATA[&quot;The Childe of Bristowe,&quot; &quot;The Prioress&#039;s Tale,&quot; and the Possibility of Neighbor Love.]]></dcterms:title>
    <dcterms:description><![CDATA[Combines neighbor theory with Pauline notions of debt, payment, and the &quot;dual commandment&quot; to love God and neighbor, exploring usury, neighborly obligation, Christian-Jewish proximity, and market economy in &quot;The Childe of Bristowe&quot; and PrT--found together in London, British Library, MS Harley 2382. Emphasizes how in PrT, unlike in &quot;Childe,&quot; &quot;usury operates as a foundational imaginary&quot; foreclosing any possibility of the Christian community conceiving of the Jews as neighbors or individuals.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275297">
    <dcterms:title><![CDATA[&quot;The Droghte of March&quot;: A Common Misunderstanding.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides climatological evidence that Chaucer&#039;s GP references (1.1-2) to drought in March and rain in April are realistic as well as symbolic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275665">
    <dcterms:title><![CDATA[&quot;The emprentyng of hire consolacioun&quot;: Engraving, Erosion, and Persistent Speech in &quot;The Franklin&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the history and implications of the rhetorical analogy between the effects of &quot;persistent speech&quot; and water eroding or imprinting stone, from Ovid through medieval erotodidactic and religious writing to Boccaccio&#039;s Tale of Menedon and FranT, focusing on how &quot;familiar wisdom might unfold new meanings in time.&quot; Chaucer&#039;s &quot;sustained engagement&quot; with the image in FranT complicates traditional uses by showing how Dorigen learns the &quot;rewards and satisfactions of complaint&quot; while Aurelius fails to &quot;abandon the fantasy of &#039;emprentyng&#039; his desires on Dorigen.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274659">
    <dcterms:title><![CDATA[&quot;The Formless Ruin of Oblivion&quot;: Shakespeare&#039;s &quot;Troilus and Cressida&quot; and Literary Defacement.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the literary tradition of Troy as a war in which different versions of the story struggle to claim validity. Focuses on how Shakespeare seeks to &quot;deface and disable the entire tradition,&quot; rendering it &quot;unfit for any but the lowest human habitation&quot; by adapting elements that derive from the &quot;ephemera&quot; of Dares and Dictys and by &quot;breaking down the protected spaces&quot; of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273963">
    <dcterms:title><![CDATA[&quot;The Franklin&#039;s Tale&quot; and the Sister Arts.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers FranT as a commentary on the &quot;sister arts&quot; of poetry and painting, linked in the tale&#039;s engagement with rhetoric, to form Chaucer&#039;s &quot;theory of the imagetext.&quot; Unlike later theorizations that differentiate the visual from the verbal, the thematic construction of FranT--particularly its evocation of artifice in representing the rocks and the garden--reflects a medieval fascination with the &quot;artificiality of all representation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274187">
    <dcterms:title><![CDATA[&quot;The Franklin&#039;s Tale&quot;: The Generous Father and the Spendthrift Son.]]></dcterms:title>
    <dcterms:description><![CDATA[Regards the Squire as the &quot;son-substitute&quot; of the Franklin, and reads FranT, with a nod to Freud, as a projection of the narrator&#039;s idealized and decontextualized attitudes toward money, generosity, gentility, and virtue that reveals a subtle thematic concern with interactions between self-interest and group-interest.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275982">
    <dcterms:title><![CDATA[&quot;The Friar&#039;s Tale&quot; and &quot;The Summoner&#039;s Tale&quot; in Word and Deed.]]></dcterms:title>
    <dcterms:description><![CDATA[Reappraises FrT and SumT and acknowledges the professional and personal animosity at the root of the tellers&#039; relationship to each other. Argues for a wider sense of that relationship between the tales and their tellers, contending that this animosity &quot;binds them closely to the economic concerns&quot; of CT and, &quot;more crucially, its social and linguistic ones.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275427">
    <dcterms:title><![CDATA[&quot;The Friar&#039;s Tale&quot; and Its Pulpit Background.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads FrT as an exemplum against greed that is informed by commonplaces drawn from sermon tradition, specifically the &quot;pulpit practice of late medieval mendicants.&quot; Aligns details of the plot and rhetoric in FrT with parallels found in works by John Bromyard, William Peraldus, Caesarius of Heisterbach, Guillaume de Deguileville, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273562">
    <dcterms:title><![CDATA[&quot;The gardyn is enclosed al aboute&quot;: The Inversion of Exclusivity in the &quot;Merchant&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Treats control as a thematic device in MerT and in CT at large. January seeks to control May through literal enclosure, but is himself figuratively controlled by May and Damian, becoming a keeper kept. Conversely, the pilgrim narrator of CT relinquishes the closed form of the GP descriptions and gives control over to the other pilgrims, maintaining partial control by becoming a participant himself.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276409">
    <dcterms:title><![CDATA[&quot;The Honour and the Humble Obeysaunce&quot;: &quot;Prologue&quot; to &quot;The Legend of Good Women,&quot; L. 135, G-Text.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests emending LGWP-G by reversing the order of lines 135 and 136 and making &quot;obeysaunce&quot; plural in 135.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273268">
    <dcterms:title><![CDATA[&quot;The Horsemen of the &#039;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes three groups of equestrians among the Canterbury pilgrims: those who ride proud horses, those who &quot;ride either poor or at least un-caparisoned horses,&quot; and &quot;those whose characters seem compromised by their &#039;inefficiency&#039; as horsemen.&quot; Gauges the moral implications of these associations in light of Christ&#039;s entry into Jerusalem on a &quot;humble beast.&quot; Also comments on the pilgrims&#039; clothing, and argues for greater attention to the Bible than the Church Fathers in exegetical criticism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276758">
    <dcterms:title><![CDATA[&quot;The Hous of Fame&quot; and the House of the Musicians.]]></dcterms:title>
    <dcterms:description><![CDATA[Proposes that the facade of the thirteenth-century &quot;Maison des Musiciens&quot; in Reims may have inspired Chaucer&#039;s description of the exterior of Fame&#039;s palace in HF 1189-1266, hypothesizing  how and when Chaucer may have seen the historical building.]]></dcterms:description>
</rdf:Description></rdf:RDF>