<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/272993">
    <dcterms:title><![CDATA[The &#039;1689 Chaucer&#039;: A Reissue of the Last Black-Letter Chaucer Edition]]></dcterms:title>
    <dcterms:description><![CDATA[Uses personal copy for close comparison with 1687 edition, and views book history as evidence of increasing inability to decode Middle English and the beginning of antiquarianism and collectable Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261991">
    <dcterms:title><![CDATA[The &#039;A.B.C.&#039; and the &#039;Second Nun&#039;s Tale&#039;: Translation and Transformation]]></dcterms:title>
    <dcterms:description><![CDATA[Comparison with its sources reveals that the changes in ABC destroy the unity but not the coherence.  Chaucer&#039;s version comes closer than its source to fulfilling Augustine&#039;s recommendations.  SNT falls short of its sources in conveying the ethical dimensions of the martyrdom.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262596">
    <dcterms:title><![CDATA[The &#039;Beryn&#039;-Writer as a Reader of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;Beryn&quot;-writer&#039;s &quot;interpretation of Chaucerian style&quot; and narrative devices such as framing and indeterminacy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262920">
    <dcterms:title><![CDATA[The &#039;Bisynesse&#039; of Love in Chaucer&#039;s Dawn-Songs]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer adapts the conventional dawn-song contrast between work and love as activities appropriate to day and night, respectively, in TC and the fabliaux, where &quot;bisynesse&quot; is used to connote lovemaking as the proper work of the night.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265377">
    <dcterms:title><![CDATA[The &#039;Boece&#039; as Late-Medieval Translation]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Bo and its fifteenth-century reception in light of the &quot;well-defined and distinctive&quot; tradition of &quot;academic translation,&quot; i.e., as a reflection of the late-medieval interest in semiotics and textual explication.  Although Chaucer never applied the &quot;finishing touches&quot; to the work, Bo succeeds &quot;in meeting the highest standards of academic translation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271697">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess,&#039; Melancholy, and That Eight-Year Sickness]]></dcterms:title>
    <dcterms:description><![CDATA[Differentiates the lover&#039;s malady in BD from the traditional love-sickness found in its analogues, identifying the malady as a form of head melancholy curable by a good night&#039;s sleep, the narrator&#039;s only physician. The comic version of the tale of Ceyx and Alcyone reflects serious concern with fear of dying. Includes an appendix that treats the eight-year duration of the narrator&#039;s illness as a means to date the poem as commemorative rather than occasional.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264936">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Earlier critics, led by Kittredge, read the poem as a consolation for John of Gaunt, embodied as the Black Knight;the dreamer is naive and childish.  Recently, however, Robertson has denied the view of &quot;courtly love&quot; some see in the work.  Instead, when viewed in the light of medieval literary theory, the poem is no literal reflection of John of Gaunt; rather, the knight is the &quot;erring will&quot; and the dreamer &quot;reason.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted from the first (1968) edition, with updated bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263276">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess&#039; Again]]></dcterms:title>
    <dcterms:description><![CDATA[The textual tradition shows that the major and perhaps sole manuscript used by Thynne lacked lines 31-96.  The borrowings from the French alleged by Helen Phillips for this passage are commonplaces.  No reliable evidence proves that Chaucer composed the lines.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264263">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess&#039; and the Beginnings of Chaucer&#039;s Narratives]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s concern is in part with forms of subjective experience, expressed in a dialectic between images and &quot;nothing&quot; in a series of lateral movements of the aesthetic imagination.  At the end the poet converts retrospection to anticipation, as he comments on the making of this very poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263795">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess&#039; and the Dream of Folly]]></dcterms:title>
    <dcterms:description><![CDATA[BD is a rendering of the archetypal Fool (the poet) and the King (the Black Knight), wherein consolation for death is provided by the Fool, a pattern also in &quot;Solomon and Marcolf.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265387">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess&#039; and the Mutability Theme]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys critical assessments of the hunting episode in BD, explicates details of the episode, and reads it as a representation of worldly bliss.  The episode and the allusion to the hunt near the end of the poem frame the Black Knight&#039;s account of woe, offering not consolation but acknowledgement of the alternation between bliss and woe in this world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265557">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess&#039; as a Memorial Monument]]></dcterms:title>
    <dcterms:description><![CDATA[Cruxes in BD--how it can function both universally and individually, why it was composed some years after Blanche&#039;s death--can be better understood by placing the poem in the context of tomb sculpture.  At the time Chaucer was writing,Henry Yevele was sculpting Blache&#039;s monument, and parallels in methodology can be discerned between fourteenth-century tomb sculpting techniques and Chaucer&#039;s poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262768">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess&#039; as a Philosophical Vision: The Argument from Form]]></dcterms:title>
    <dcterms:description><![CDATA[BD is considerably more complex than some critics have believed:  it is a &quot;philosophical vision,&quot; not a &quot;dream of folly&quot; (Zimbardo); an &quot;autobiography by dream&quot; (Shoaf); a &quot;literary sampler,&quot; or a &quot;Boethian apocalypse&quot; (Cherniss).  It is not monologic, like earlier dream visions, but dialogic, engaging in a dialogue with the past, a conversation from which it winnows its own truth.  Compulsively exploring love and loss, it culminates in understanding.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266282">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess&#039; as Consolatio]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that BD satisfies the principal features of the consolatio, while recognizing the poem&#039;s dream-vision characteristics.  Examines dialogue, the frame, the role of narrator-dreamer as narrator-therapist who leads the Black Knight to Blanche--a true superior guide who, in turn, consoles the Knight and her mourners, including John of Guant and Chaucer.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Keiko Hamaguchi, Chaucer and Women (Tokyo: Eihosha, 2005).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263035">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess&#039;: Hunting and the &#039;Ubi Sunt&#039; Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews scholarship and examines the hunt in BD in the context of other portrayals of the hunt in medieval literature.  Because of its portrayal of sudden and shocking death, the &quot;ubi sunt&quot; tradition is an appropriate context:  the poem ends with the dreamer&#039;s question, &quot;Where is she now?&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272102">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess&#039;: Sources for Lines 174, 203-205, 249-253]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies lines from Machaut&#039;s &quot;La Fonteinne Amoureuse&quot; and from Ovid&#039;s &quot;Metamorphoses&quot; as direct sources of words and details in BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262767">
    <dcterms:title><![CDATA[The &#039;Book of the Duchess&#039;: The Vision of the Artist as a Young Dreamer]]></dcterms:title>
    <dcterms:description><![CDATA[The issues raised by the narrative style of BD, particularly in the use of its ambivalent first-person narrator, suggest Chaucer&#039;s early interest in an art that maintains a tension between convention and innovation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269289">
    <dcterms:title><![CDATA[The &#039;Buried Bodies&#039; of Dante, Boccaccio, and, Petrarch: Chaucerian &#039;Sources&#039; for the Critical Fiction of Obedient Wives]]></dcterms:title>
    <dcterms:description><![CDATA[Frese reads water, dressing, and &quot;suckling&quot; imagery in Boccaccio, Petrarch, and ClT as vestiges of Dante&#039;s concern in &quot;De vulgari eloquentia&quot; with using &quot;vernacular&quot; language for &quot;literature of lasting value.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266205">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales,&#039; D117: &#039;Wrighte&#039; or &#039;Wight&#039;?]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges E. Talbot Donaldson&#039;s emendation of the Hengwrt reading &quot;wight&quot; (WBP 117); &quot;wright&quot; is acceptable Middle English syntax, makes good sense as it stands, and accords well with contemporary notions of God&#039;s perfect design of the sexual organs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263954">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039; and the Arabic Frame Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Arabic literature--characteristically framed, open-ended, &quot;eye-witness,&quot; first-person narrative, often including a journey--prefigures Boccaccio&#039;s &quot;Decameron,&quot; Gower&#039;s &quot;Confessio Amantis,&quot; and Chaucer&#039;s CT.  Petrus Alfonsi&#039;s twelfth-century &quot;Disciplina clericalis&quot; may link traditions of East and West.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263183">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039; and the Good Society]]></dcterms:title>
    <dcterms:description><![CDATA[CT reflects the social, political, economic, and intellectual milieu of the late fourteenth century:  the tales arise from Chaucer&#039;s deep concern about contemporary crises and his conviction that the &quot;parlement&quot;--all levels of society engaged in dialogue--could serve as an agent of healing and renewal. ]]></dcterms:description>
    <dcterms:description><![CDATA[Drawing on Wittgenstein and Pike, Olson examines the &quot;meaning of Chaucer&#039;s language&quot;; GP, estates theory, and the &quot;age and body&quot; of time; tales of court and country:  KnT, MilT, RvT; MLT and English Christian law; Th and Mel on temporal power and art; GP Prioress, PrT, SNT, NPT, MkT, FrT, PardT, SumT, and WBT in light of fourteenth-century spirituality and monasticism; and ParsT as Reason&#039;s reconstruction.  In the working out of the interlacing theme, the renewal of society, CT is complete.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262418">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039; for a New Age]]></dcterms:title>
    <dcterms:description><![CDATA[Review article covering six recent books:   B. Boyd&#039;s Variorum edition of PrT; R. Jordan&#039;s Chaucer&#039;s Poetics and the Modern Reader; L. Kendrick&#039;s Chaucerian Play; L. Koff&#039;s Chaucer and the Art of Storytelling; C. Lindahl&#039;s Earnest Games; and L. Patterson&#039;s Negotiating the Past.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265167">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039; Glosses and the Manuscript Groups]]></dcterms:title>
    <dcterms:description><![CDATA[Critiques the inaccuracies, inconsistencies, and inconclusiveness of the Manly-Rickert description (Chicago, 1940) of the glosses in manuscripts of CT.  Compares glossarial manuscript groups to the textual groups identified by Manly and Rickert, arguing that MS Christ Church CLII &quot;should play a greater role&quot; in establishing the text of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263170">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039; I: Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the five &quot;romances&quot; in CT.  WBT, ostensibly an Arthurian romance, is actually a &quot;fairy tale, told by a woman and dominated by women&quot;; Th is an &quot;outright burlesque&quot; of contemporary English roamnces; SqT, unfinished, does not offer the romance its opening promises; FranT barely mentions Averagus&#039;s knightly adventures; and KnT is &quot;shadowed by thoughts of suffering and death: despite its romantic love and happy ending.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263186">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039; II: Comedy]]></dcterms:title>
    <dcterms:description><![CDATA[Treats setting, tone, and structure of the six comedies in CT: MilT, RvT, ShT, MerT, FrT, and SumT.  Discusses the first four as fabliaux, the last two as &quot;masterpieces of satirical anecdote&quot; that do not deal with sex and marriage.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Jean E. Jost, ed.  Chaucer&#039;s Humor:  Critical Essays (Garland, 1994), 125-42.]]></dcterms:description>
</rdf:Description></rdf:RDF>