<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/262160">
    <dcterms:title><![CDATA[Textual Criticism and Literary Theory: Chaucer and His Readers]]></dcterms:title>
    <dcterms:description><![CDATA[Fifteenth-century readers of Chaucer shaped the Chaucerian canon and cult of authorship by appropriating both the language and the rhetorical strategy of ClT, wherein the Clerk simultaneously recognizes the authority of Petrarch and appropriates to himself the editorial freedom to recast his tale for the tastes and expectations of a new, historically situated audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265455">
    <dcterms:title><![CDATA[Textual Criticism and Middle English Texts]]></dcterms:title>
    <dcterms:description><![CDATA[Machan identifies and defines specific cultural and textual factors particular to Middle English works.  He argues that textual criticism, in its evolutionary approach, is consonant with source-and-analogue criticism.  Today&#039;s standard texts develop from earlier ones.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267947">
    <dcterms:title><![CDATA[Textual Criticism of Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Middle English texts of GP, MilT, WBPT, PardPT, and NPT, with introductions, glosses, and notes in Korean.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271174">
    <dcterms:title><![CDATA[Textual Editing and Criticism: An Introduction]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces the theory and practice of editing literary works, with contextual materials to help readers understand why and how to edit various kinds of texts and produce various kinds of editions.  Includes readings from various theorists and editors, and an anthology of sample documents reproduced in facsimile for editorial exercises.  Includes discussion of Adam Pynkhurst as Chaucer&#039;s scribe and reproduces facsimiles of &quot;all thirty&quot; of the &quot;traditional&quot; witnesses to the text of Chaucer&#039;s Truth, and a transcription of the text by Henry Bradshaw from what may be a lost manuscript.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267043">
    <dcterms:title><![CDATA[Textual Exhibitionism : The Pardoner&#039;s Affirmation of Text Over Context]]></dcterms:title>
    <dcterms:description><![CDATA[The Pardoner masks his questionable oral and sexual potency by conspicuously exhibiting his &quot;bulles&quot; and using them to assert power. These documents remain valid despite their dissonance with the spiritual nature of the Pardoner. PardT demonstrates late-medieval anxiety about the increasing dependence on written documents or on text vs. context.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275521">
    <dcterms:title><![CDATA[Textual Face: Cognition as Recognition.]]></dcterms:title>
    <dcterms:description><![CDATA[Proposes as an epistemological and hermeneutical concept that &quot;literary cognition is fundamentally a matter of re-cognition,&quot; exploring recognition as cognition in literary texts and in the apprehension of literary texts. Examines Virgil&#039;s &quot;Aeneid&quot; as a precondition of recognition in Dante&#039;s &quot;Comedy,&quot; and Chaucer&#039;s TC as a precondition of recognition in Henryson&#039;s &quot;Testament of Cresseid,&quot; in each case focusing on scenes of perception of a face or faces. Also comments generally on recognition as fundamental to literary pedagogy, in contrast with positivist thinking.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262263">
    <dcterms:title><![CDATA[Textual Fidelity and Betrayal: Chaucer&#039;s Deserted Women]]></dcterms:title>
    <dcterms:description><![CDATA[The deserted woman, deriving from classical sources through medieval tradition, embodied the conflict of &quot;amor&quot; and &quot;pietas.&quot;  Appearing in allusion, exempla, and the poems HF, LGW, MLT, FranT, Anel, and TC, the deserted woman demonstrates for Chaucer the interplay of experience and authority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276018">
    <dcterms:title><![CDATA[Textual Lyricism in Lydgate&#039;s &quot;Fifteen Joys and Sorrows of Mary.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the form and presentation of John Lydgate&#039;&#039;s &quot;Fifteen Joys and Sorrows of Mary,&quot; reading it as a bridge between the experiences of poetry and devotion, i.e., for the ways it &quot;relishes the devotional and imaginative possibilities offered by the act of reading words on a page.&quot; Includes discussion of the poem&#039;s many allusions to Chaucer and his work and of how Lydgate &#039;delicately attempts to outstrip his &#039;maister Chaucer,&#039; by turning to . . . purely devotional ends.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268630">
    <dcterms:title><![CDATA[Textual Performance : Chaucerian Prologues and the French &#039;Dit&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Critiques &quot;dramatic&quot; or Kittredgean readings of the prologues in CT, especially those &quot;newly oiled by Lacan,&quot; and considers the prologues in light of the French dit--loosely defined as &quot;speech imitated in clerkly writing&quot; or the &quot;illusion of speech created in writing.&quot; Spearing comments on GP, RvP, MLP, FranP, and PardP and discusses WBP as an extended &quot;textual performance&quot; by &quot;Chaucer in drag.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266872">
    <dcterms:title><![CDATA[Textual Pleasure in the Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[In MilT, Chaucer transformed a bawdy joke into pleasing narrative art, producing in the sexual scenes moments when a reader might feel jouissance. Includes some notes toward a materialist reading of the Tale as a representation of the poetic and narrative structures that make up CT as a whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275422">
    <dcterms:title><![CDATA[Textual Study of Thomas Tyrwhitt&#039;s Edition of the Canterbury Tales (1775-1778).]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the Collation Text and the Printer&#039;s Copy of Tyrwhitt&#039;s edition of CT, identifying his reliance on two manuscript witnesses--British Library Harley 7335 and Cambridge University Library Dd.4.24--and establishing &quot;his fidelity to the manuscripts and the extent of his contribution to the restoration of the text&quot; of the poem. Affirms that Tyrwhitt produced the &quot;first modern critical edition&quot; of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268813">
    <dcterms:title><![CDATA[Textual Subjectivity : The Encoding of Subjectivity in Medieval Narratives and Lyrics]]></dcterms:title>
    <dcterms:description><![CDATA[Spearing counters the assumption that all medieval narration implies a narrator. Medieval literature is permeated with subjectivity, but it is often &quot;subjectless subjectivity,&quot; better compared to painting than to oral storytelling. Similar to twentieth-century experiments in disembodied perception, medieval fiction was just beginning to explore the possibility of representing unified consciousness.]]></dcterms:description>
    <dcterms:description><![CDATA[Examination of linguistic phenomena, such as deixis, shows how subjectivity is encoded in medieval lyrics and narratives, even though it is not represented as the product of a unitary speaking voice. Spearing considers TC, MLT, and Pity, as well as other works of Middle English literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264278">
    <dcterms:title><![CDATA[Textual Tradition, Monarchy and Chaucer&#039;s &#039;Lak of Stedfastnes&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Cross accepts the textual conclusions of Pace, making incorrect assumptions in regard to the poem&#039;s connection with Richard II and to Boethius&#039;s &quot;De consolatione.&quot;  One difficulty in Sted stems from a single lexical variation in the verb &quot;envoi.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262332">
    <dcterms:title><![CDATA[Textual Variants in Chaucer&#039;s &#039;House of Fame&#039;: Thynne as Editor]]></dcterms:title>
    <dcterms:description><![CDATA[Adduces evidence that Thynne&#039;s edition of 1523 is the work of a careful, conservative editor.  Thynne did not invent his unique readings but based them on Caxton, Fairfax, and Bodley.  In other words, his HF &quot;is truly an edition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263576">
    <dcterms:title><![CDATA[Textual Variants: Textual Variance]]></dcterms:title>
    <dcterms:description><![CDATA[Knight uses variability in early manuscripts of CT to understand historical and socioliterary implications of the work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268637">
    <dcterms:title><![CDATA[Textual Variation and the Alliterative Tradition : Canterbury Tales I.2602-2619, the D Group and Takamiya MS 32]]></dcterms:title>
    <dcterms:description><![CDATA[Examines manuscript variants in KnT 1.2616-17 in relation to Chaucer&#039;s awareness of alliterative tradition and its lexicon, suggesting that &quot;hurtleth&quot; is preferable to &quot;hurteth&quot; at 2616 and that &quot;born&quot; (D Group) for &quot;hurt&quot; at 2617 may have been influenced by the preceding line.]]></dcterms:description>
    <dcterms:date><![CDATA[2004]]></dcterms:date>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275143">
    <dcterms:title><![CDATA[Textual Variations and Readings among the Manuscripts and Editions of &quot;The Canterbury Tales&quot;: With Special Reference to &quot;The Knight&#039;s Tale.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Examines linguistic features of Pynson&#039;s and de Worde&#039;s editions of KnT and discusses similarities to and difference from each other, Caxton&#039;s editions, and the Ellesmere and Hengwrt manuscripts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271445">
    <dcterms:title><![CDATA[Textual Variations in Troilus and Criseyde and the Rise of Ambiguity]]></dcterms:title>
    <dcterms:description><![CDATA[Variants in TC passages depicting Criseyde&#039;s fluctuating affections reveal the reactions of both early scribes and modern editors to ambiguity in Chaucer&#039;s language.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269151">
    <dcterms:title><![CDATA[Textualizing the Vernacular in Late Medieval England: Suggestions for Some Heuristic Reconsiderations]]></dcterms:title>
    <dcterms:description><![CDATA[Schaefer considers the process of vernacularization in late medieval English in comparison with other European languages, suggesting that quotations from the period about English are commonplaces rather than reflections of contemporary attitudes and calling for attention to the tradition of &quot;ars dictandi.&quot; Also comments on Mel and ParsT as self-conscious examples of expository written prose.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277564">
    <dcterms:title><![CDATA[Textually Transmitted Diseases: Narrative Contact Tracing in Depictions of Ancient Troy.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;use of ill bodies in storytelling acts as a virus&quot; so that, when familiar narratives are retold, &quot;the image of ailing bodies will spread to future versions,&quot; often mutating. Links lovesickness in TC to leprosy in Henryson&#039;s &quot;Testament of Cresseid&quot; and to venereal syphilis in Shakespeare&#039;s &quot;Troilus and Cressida.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275444">
    <dcterms:title><![CDATA[Thanne Longen Morehouse Men to Goon on Pilgrimages.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes teaching Chaucer at Morehouse College, an HBCU institution (historically black college or university), considering topics such as canon expansion, dress codes, linguistic standards, and student identity. Includes student reactions to the class as well some of their creative projects and presentations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263280">
    <dcterms:title><![CDATA[That Dog Again: &#039;Melancholia Canina&#039; in Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Functioning in the tradition of &quot;melancholia canina&quot; treatises, Chaucer&#039;s dog in BD acts as a catalyst for the melancholy dreamer and enables him to relieve his sorrow.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263526">
    <dcterms:title><![CDATA[That Oath of the Prioress]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Loy&quot; may refer to the law (from Old French &quot;loy&quot;), compounding the irony of the Prioress&#039;s oath &quot;by Seinte Loy.&quot;  In &quot;taking an oath by the Law &#039;per se&#039;,&quot; she would have taken a stand against unprincipled, secular swearing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272687">
    <dcterms:title><![CDATA[That Pleasant Place: The Representation of Ideal Landscape in English Literature From the 14th to the 17th Century]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of Chaucer&#039;s works (pp. 35-45), commenting on the idealized settings found in BD, PF, and LGWP in comparison with their sources; also comments on the lack of such settings in TC and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271908">
    <dcterms:title><![CDATA[That Which Chargeth Not to Say: Animal Imagery in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[TC includes references to animals through frequent analogy and extended imagery, but these are often generically inappropriate. Dreams about animals are largely unexplored. Comparison of Troilus to the horse Bayard not only emphasizes the hero&#039;s animal nature but also raises the horse to the level of rational being, suggesting the commonality of beings on earth.]]></dcterms:description>
</rdf:Description></rdf:RDF>