<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/263176">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039; III: Pathos]]></dcterms:title>
    <dcterms:description><![CDATA[Although Chaucer&#039;s &quot;tales of pathos&quot;--MLT, ClT, PhyT, PrT, and MkT--do not constitute a genre, they share characteristics: lack of comedy, absence of irony, little complexity, abstract settings, and characters &quot;motivated by a single virtue.&quot;  Each tale achieves a &quot;strong emotional effect.&quot;  Frank discusses religious meditations, saints&#039; lives, &quot;de casibus&quot; tragedies, and Chaucer&#039;s sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262413">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039; in Eschatological Perspective]]></dcterms:title>
    <dcterms:description><![CDATA[After advocating eschatological explication of medieval poems not explicitly apocalyptic in nature and concluding that Thomas Wimbledon&#039;s &quot;Sermon&quot; (1388) exhibits personal and universal eschatological elements, Emmerson and Herzman examine such elements in &quot;Piers Plowman,&quot; &quot;The Divine Comedy,&quot; Chaucer&#039;s Ret, the pilgrim frame of CT, ParsT, and PardT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265751">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039; in the Context of Contemporary Vernacular Translations and Compilations]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys French compilations to argue that CT &quot;appears to burlesque the uniformly high-minded French prose compilations ... actively encouraged by the Valois princes in the second half of the fourteenth century.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[The narrator&#039;s apology for using the pilgrims&#039; own words indicates that, in a time of French translations and compilations, English was a suspect innovation.  Chaucer and his contemporaries &quot;almost surely&quot; saw Chaucer as a translator and compiler of others&#039; works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263190">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039; IV: Exemplum and Fable]]></dcterms:title>
    <dcterms:description><![CDATA[FrT, PardT, NPT, and ManT both exemplify and undercut the purposes of moral teaching.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266054">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039; Miscellanies: A Contextual Study of Manuscripts Anthologizing Individual &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Sixteen fifteenth-century CT Tales&quot; manuscripts--       anthologized on the basis of theme, subject, or interest--survive.  They reveal middle-class taste through their moral and devotional content and indicate the  popularity and availability of Chaucer exemplars.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264839">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039;: Anxiety Release and Wish Fulfillment]]></dcterms:title>
    <dcterms:description><![CDATA[The Canterbury pilgrimage is, among other things, an attempt by some of the pilgrims to sublimate the sex drive.]]></dcterms:description>
    <dcterms:description><![CDATA[The Merchant indirectly admits his sexual inadequacy (he is January); the Prioress her fear of the opposite sex (the little &quot;clergeon&#039;s&quot; murder is a form of castration); the Monk his desire to masturbate (God, after all, made Adam with his &quot;owene fynger&quot;); and the Pardoner his sexual fraudulence (he is a eunuch).  Such confessions as these pilgrims make help to release their fears and anxieties.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263166">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039;: Personal Drama or Experiments in Poetic Variety?]]></dcterms:title>
    <dcterms:description><![CDATA[The characters in CT are neither fully developed nor consistent; tellers and their tales are loosely connected.  Thus, Kittredge&#039;s &quot;dramatic theory&quot; is limited:  it leads readers to focus on personalities of the pilgrims rather than on Chaucer&#039;s radical stylistic experiments and poetic range.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266571">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039;: Questions and an Answer]]></dcterms:title>
    <dcterms:description><![CDATA[Briefly surveys the ways Chaucer leaves &quot;gaps&quot; in CT--omissions, repetitions, reversals, etc.--and suggests how ParsT provides a wholeness despite these gaps.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266164">
    <dcterms:title><![CDATA[The &#039;Canterbury Tales&#039;: The Aesthetics of Humor]]></dcterms:title>
    <dcterms:description><![CDATA[Though Chaucer has been scorned for creating humor, the bulk of CT is serious, and seriousness and humor should no longer be perceived as mutually antagonistic.  Chaucer&#039;s humor develops as a structuring &quot;glue&quot; arising through literary methods that subvert genre and style.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272531">
    <dcterms:title><![CDATA[The &#039;Canzoniere&#039; of Petrarch: Selected Poems Translated into English Verse]]></dcterms:title>
    <dcterms:description><![CDATA[Includes comments on the Song of Troilus (TC 1.400-420) as a translation from Petrarch.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272556">
    <dcterms:title><![CDATA[The &#039;Cherry-Tree Carol&#039; and the &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies similarities between the pear tree episode in MerT and the cherry tree account in an apocryphal narrative about the pregnancy of Mary, mother of Jesus. Explores parallels among various analogues, and explains how the parallels capitalize on details that occur earlier in the Merchant&#039;s narrative and heighten the audience&#039;s awareness of January&#039;s &quot;spiritual blindness.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272168">
    <dcterms:title><![CDATA[The &#039;Clerk&#039;s Tale&#039; and &#039;Envoy,&#039; the Wife of Bath&#039;s Purgatory, and the &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the Clerk&#039;s Envoy &quot;generates a unifying theme which runs through&quot; MerT--the possibilities of &quot;perfection and imperfection in marriage, expressed as paradise and purgatory&quot;--an echo of the concern with &quot;purgatory&quot; in WBPT. Explores the &quot;double irony&quot; Chaucer achieves in the Envoy by welding his concern with wifely obedience to Petrarch&#039;s assertion of moral constancy, and shows where the language, imagery, and themes of marriage, paradise, and purgatory run throughout these materials.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272481">
    <dcterms:title><![CDATA[The &#039;Clerk&#039;s Tale&#039; and the Forces of Habit]]></dcterms:title>
    <dcterms:description><![CDATA[Aristotelian and Augustinian concepts of moral virtue illuminate Walter&#039;s and Griselda&#039;s behaviors in terms of habit and its relation to place.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263745">
    <dcterms:title><![CDATA[The &#039;Clerk&#039;s Tale&#039; of Man Tempting God]]></dcterms:title>
    <dcterms:description><![CDATA[Presents evidence of a coherently conceived allegory in ClT:  God is to Man as Perfection is to Imperfection, a hierarchy based not on rank but on virtue.  Thus God is to Man as Griselda is to Walter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270512">
    <dcterms:title><![CDATA[The &#039;Clerk&#039;s Tale&#039;: A Literary Analysis]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on reading ClT as both &quot;realistic and religious, tied to the character of . . . the Clerk.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264535">
    <dcterms:title><![CDATA[The &#039;Confessio&#039; Tradition From Augustine to Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[The religious &quot;confessio&quot;-tradition includes three modes:  &quot;Confessio peccati,&quot; &quot;confessio fidei,&quot; and &quot;confessio laudis.&quot;  &quot;Confessio fidei,&quot; which implies a self-testimony, provides the dominant mode for the secular literary &quot;confessio&quot; tradition, which parallels but does not derive directly from the devotional &quot;confessio&quot;-tradition.]]></dcterms:description>
    <dcterms:description><![CDATA[All literary confessions include self-witnessing speakers who also witness a philosophy of life shared by a general community, and who derive fictional credibility from the philosophical notion of entelechy, whereby they seem to share the desire to reproduce themselves with words.  The literary &quot;confessio&quot;-tradition can thus include such disparate confessors as Augustine and the Wife of Bath because they share a form of utterance that shows their mode of characterization to be identical.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263249">
    <dcterms:title><![CDATA[The &#039;Cosa impossibile&#039; of &#039;Il filocolo&#039; and the &#039;Impossible&#039; of &#039;The Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compared with Boccaccio&#039;s &quot;Il filocolo,&quot; Chaucer&#039;s innovations--evident in his treatment of the black rocks, the heroine, magic, and the love of Dorigen and Arveragus--create broader contexts:  marital love, courtly love, magic,and the theme of impossibility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265465">
    <dcterms:title><![CDATA[The &#039;Covert Vele&#039;: Chaucer, Spenser, and Venus]]></dcterms:title>
    <dcterms:description><![CDATA[Spenser&#039;s depictions of the Bower of Bliss and the Temple of Venus (&quot;The Faerie Queene&quot; 2 and 4) are indebted to PF and, to a lesser degree, Th for explicit references and more general personal and cultural allusions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269908">
    <dcterms:title><![CDATA[The &#039;Crossing&#039; of the Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Cites instances in which the Wife of Bath crosses over between binary sets (male/female, sex/gender, authority/experience), and suggests that she cannot be seen simply as a feminist. Nor is she simply a victim.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265909">
    <dcterms:title><![CDATA[The &#039;Cultour&#039; in the &#039;Miller&#039;s Tale&#039;: Alison as Iseult]]></dcterms:title>
    <dcterms:description><![CDATA[In MilT, the coulter was chosen by Chaucer for its etymological and judicial significance and because it parallels a scene from &quot;Tristan and Iseult&quot;--the trial by ordeal.]]></dcterms:description>
    <dcterms:description><![CDATA[  Nicholas, John, and Alison provide comic equivalents of Tristan (the trickster), Mark (the usuitable husband), and Iseult (the love object).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265462">
    <dcterms:title><![CDATA[The &#039;Descriptio Navalis Pugnae&#039; in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Critics have attributed Chaucer&#039;s description of naval warfare in the Legend of Cleopatra to his knowledge of contemporary battles.  Hamel argues instead that Chaucer, like other medieval writers and even historians, drew the elements of his description from a common literary or rhetorical topos. The details of these battles seem realistic because the topos itself was &quot;based on actual practice.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273152">
    <dcterms:title><![CDATA[The &#039;Dialect&#039; of Chaucer&#039;s Reeve]]></dcterms:title>
    <dcterms:description><![CDATA[The Reeve&#039;s dialect is usually considered a rendering of Norfolk dialect. However, Knox argues that the word &quot;ik&quot; indicates a Norfolk joke, revealing the Reeve&#039;s anachronistic and backwards speech.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272204">
    <dcterms:title><![CDATA[The &#039;Dit dou Bleu Chevalier&#039;: Froissart&#039;s Imitation of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes similarities between BD and Jean Froissart&#039;s &quot;Dit dou Bleu Chevalier,&quot; and argues that Froissart imitated Chaucer&#039;s poem, commenting on the occasions of the poems and their relative chronology, narrative and linguistics details, and the &quot;borrowing habits&quot; of the poets, including their uses of Guillaume de Machaut and the &quot;Roman de la Rose.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272613">
    <dcterms:title><![CDATA[The &#039;Doppelgängers&#039; in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Finds three kinds of character doubling in TC:  Hector is an &quot;echoic or reflective doubling&quot; of Troilus, Pandarus and Troilus double as complementary portions of one lover, and Diomedes is Troilus&#039;s &quot;dramatically opposing&quot; double.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265663">
    <dcterms:title><![CDATA[The &#039;Double Sorwe&#039; of the Wife of Bath: Chaucer and the Misogynist Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[The Wife&#039;s pain and anxiety in regard to clerical pronouncements on the sinfulness of carnal pleasure in marriage and on the superiority of virginity to the married state suggest that she is reacting chiefly to the dominant &quot;rigorist&quot; school of thought on these topics (e.g., Jerome, Bromyard) rather than to a more &quot;liberal&quot; attitude espoused in some Victorine and Chartrist thought.]]></dcterms:description>
</rdf:Description></rdf:RDF>