<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/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:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275990">
    <dcterms:title><![CDATA[&quot;The Knight&#039;s Tale&quot; and the Estrangements of Form.]]></dcterms:title>
    <dcterms:description><![CDATA[Accounts for the &quot;strangeness&quot; of KnT, cataloguing various theoretical and interpretative approaches, beginning with Charles Muscatine&#039;s scholarly contributions and ending with Elizabeth Scala&#039;s &quot;Desire in the Canterbury Tales.&quot; Links each of these approaches, in spite of their differences, with the formalist concerns of KnT and its differences from the &quot;Thebaid&quot; and the &quot;Teseida.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273463">
    <dcterms:title><![CDATA[&quot;The last syllable of modernity&quot;: Chaucer in the Caribbean.]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews references to how Chaucer is represented and appropriated in Anglophone Caribbean literature and critical essays. Includes example of &quot;fictional allusion&quot; to CT in Jean Rhys&#039;s &quot;Again the Antilles.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>