<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/267807">
    <dcterms:title><![CDATA[The &#039;Elvyssh&#039; Power of Constance : Christian Feminism in Geoffrey Chaucer&#039;s The Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Through various alignments of Muslim and Christian characters and transgressions of social and gender boundaries, Chaucer &quot;defamiliarizes&quot; essentialist categories of race, class, gender, and especially religion in MLT. In particular, Chaucer depicts in Constance an ineffable ideal of Christianity--an unusual feminine alternative to dominant hierarchical orthodoxy, perhaps inspired by Lollardy but not congenial to many Lollard tenets. Chaucer&#039;s depictions of race and religion are similar to Wolfram von Eschenbach&#039;s in &quot;Parzival.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[For revised version, see &quot;Nonviolent Christianity and the Strangeness of Female Power in Geoffrey Chaucer&#039;s Man of Law&#039;s Tale.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262775">
    <dcterms:title><![CDATA[The &#039;Entente&#039; of the Narrator: A Poet Speaks to His Audience in Chaucer&#039;s Versions of the Dido and Aeneas Legend]]></dcterms:title>
    <dcterms:description><![CDATA[Treatments of Dido and Aeneas in HF and LGW indicate that Chaucer develops a narrator-character who mediates actively between subject and audience in a more modern way than do his sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262162">
    <dcterms:title><![CDATA[The &#039;Envoy de Chaucer&#039; and the &#039;Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Rather than belonging to Chaucer, the Envoy belongs entirely and appropriately to the Clerk.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264920">
    <dcterms:title><![CDATA[The &#039;epilogue&#039; of &#039;Troilus and Criseyde&#039; reconsidered]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;epilogue&quot; of TC apparently reveals Chaucer&#039;s denial of worldly love.  However, it should be interpreted as the poet&#039;s complexity and uncertainty in his attitude towards &quot;love,&quot; one of his major themes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270394">
    <dcterms:title><![CDATA[The &#039;Fabulae&#039; of Walter of England, the Medieval Scholastic Tradition, and the British Vernacular Fable]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;forms of allegory&quot; found in Walter of England&#039;s Latin &quot;Fabulae,&quot; as well as its &quot;structure and vocabulary of scholastic presentation, profoundly influenced the fables of Geoffrey Chaucer, John Lydgate, and Robert Henryson.&quot; Discusses NPT, Lydgate&#039;s &quot;Iospes Fabules,&quot; and Henryson&#039;s &quot;Morall Fabillis.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262786">
    <dcterms:title><![CDATA[The &#039;Faire Queene Eleyne&#039; in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Borrowing from classical, mythographical, and iconographic sources, Chaucer uses Helen of Troy in TC both as a character and as a model to parallel and emphasize Criseyde&#039;s calm detachment and ultimate infidelity, leading to betrayal of Troilus and disaster for Troy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263731">
    <dcterms:title><![CDATA[The &#039;False Arcite&#039; of Chaucer&#039;s &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the use Chaucer made of Boccaccio&#039;s &quot;Teseida&quot; in characterization in KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270453">
    <dcterms:title><![CDATA[The &#039;Familia Regis&#039; and the &#039;Familia Cupidinis&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys evidence for the existence of &quot;courts of love&quot; in late medieval French and English culture, considering historical evidence such as Charles VI&#039;s &quot;cour amoureuse,&quot; and the literary evidence of the love debate, the &quot;demande d&#039;amour,&quot; the flower versus the leaf, etc. Draws examples from a range of literature, including Chaucer&#039;s LGWP, TC, and Scog. Although the evidence for courts of love is &quot;far from unambiguous,&quot; it may indicate that the court society itself was &quot;closed, predominantly masculine . . . self-consciously literary,&quot; and perhaps rather &quot;preening.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265409">
    <dcterms:title><![CDATA[The &#039;Fides Interpres,&#039; or From Horace to Pandarus]]></dcterms:title>
    <dcterms:description><![CDATA[The narrator&#039;s fidelity and infidelity to sources are a major theme of TC, reflecting a tradition of translation theory and practice that extends back to Horace and is heavily influenced by Boethius.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262564">
    <dcterms:title><![CDATA[The &#039;Firste Stok&#039; in Chaucer&#039;s &#039;Gentilesse&#039;: Barking up the Right Tree]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;first stok&quot; of Gent 1 refers to God as the father of &quot;gentilesse&quot; of Gent 8, to Christ as its exemplar and model.  The genealogical image operates as metaphor, pun, and paradox in the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273176">
    <dcterms:title><![CDATA[The &#039;Forgotten&#039; Language of Middle English Alchemy: Exploring Alchemical Lexis in the &#039;MED&#039; and the &#039;OED&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Differentiates &quot;literary&quot; uses of alchemical terms from those of alchemical treatises and shows that Chaucer&#039;s CYT is one of the seven most frequent alchemical sources in the seventy citations within the &quot;MED.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263859">
    <dcterms:title><![CDATA[The &#039;Franklin&#039;s Tale&#039; and Chretien de Troyes]]></dcterms:title>
    <dcterms:description><![CDATA[Although Chretien&#039;s &quot;Cliges&quot; is not a major source for FranT, thematic and verbal correspondences suggest that Chaucer used it in a complex fashion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263750">
    <dcterms:title><![CDATA[The &#039;Franklin&#039;s Tale&#039;: Of Marriage and Meaning]]></dcterms:title>
    <dcterms:description><![CDATA[The marriage speech of Averagus and Dorigen is of pivotal importance in understanding the dynamics of their marriage. Human interaction does not guarantee valid or shared meaning.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262688">
    <dcterms:title><![CDATA[The &#039;Fraternitee&#039; of Chaucer&#039;s Guildsmen]]></dcterms:title>
    <dcterms:description><![CDATA[The haberdasher, carpenter, weaver, dyer, and tapestry maker of the GP must each have belonged to his own &quot;communitas,&quot; or mystery, and the five could not (by law and custom) be members of a sixth company.  Harwood shows that the &quot;fraternitee&quot; was probably a religious society of which the guildsmen were honorary members, and which they had joined, as members of lesser companies, so that they could have contact with the wealthy and controlling merchant class.]]></dcterms:description>
    <dcterms:description><![CDATA[Their lives could signify membership in the Fraternity of Tailors and Linen Armorers of Saint John the Baptist.  If so, their hoods would have been scarlet.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263232">
    <dcterms:title><![CDATA[The &#039;Friar&#039;s Tale&#039;: Chaucer, Dante, and the &#039;Translatio Studii&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In FrT, Chaucer humorously uses references to Dante&#039;s story of Frate Alberigo.  In reference to &quot;Inferno,&quot; canto 33, to reverse Dante&#039;s pattern of punishment and sin, Chaucer specifically names Dante; and Chaucer&#039;s description of Satan is fashioned on Dante&#039;s version in &quot;Inferno,&quot; canto 34.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266018">
    <dcterms:title><![CDATA[The &#039;Fyn&#039; of the &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Uses of the word &quot;fyn&quot; by Criseyde, Pandarus, and the narrator invite the reader to consider the teleology of the various parts of the work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270501">
    <dcterms:title><![CDATA[The &#039;General Prologue&#039; as Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the narrative techniques of the GP as they set up and anticipate those of the entire CT:  the suggestiveness of pilgrimage and frame narrative, the impressionistic variety of the pilgrims and their juxtapositions, the naïve but subjective narrative persona and his reliance on memory, the emphasis on chance, disorderliness, and varieties of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265085">
    <dcterms:title><![CDATA[The &#039;General Prologue&#039; to the &#039;Canterbury Tales,&#039; Lines 345-346: The Franklin&#039;s Feast and Eucharistic Shadows]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;snow&quot; of food and drink in the Franklin&#039;s house evokes manna, which was like hoarfrost in the Bible, and therefore snow in medieval references.  The result is eucharistic parody, discrediting the Franklin&#039;s feast.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266661">
    <dcterms:title><![CDATA[The &#039;Hooked G&#039; Scribe and His Work on Three Manuscripts of the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The similar scribal features of three manuscripts of CT (Devonshire; Trinity College, Cambridge R.3.3; and Bodleian Rawlinson Poetry 223) have sometimes been attributed to a group of scribes and supervisors.  This attribution has been used to support the &quot;bookshop theory&quot; (concerning centralized and commercial production of literary manuscripts).]]></dcterms:description>
    <dcterms:description><![CDATA[The coherent linguistic forms of these three manuscripts (and of associated manuscripts of Gower and Lydgate), however, point to their being the work of a single scribe, likely an emigre to London from Kent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264950">
    <dcterms:title><![CDATA[The &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[HF is a poem about the art of poetry, for to be one of &quot;Love&#039;s folk&quot; was, in the medieval view, to be a poet also.]]></dcterms:description>
    <dcterms:description><![CDATA[Revised from the first (1968) edition, with updated bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272715">
    <dcterms:title><![CDATA[The &#039;In-Eched&#039; Method of Narration in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the shifts in perspective and changes in the point of view of the narrator in TC, arguing that they guide the reader to the outlook that concludes the poem, particularly through allusions to the biblical book of Ecclesiastes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263314">
    <dcterms:title><![CDATA[The &#039;Joie and Tene&#039; of Dreams in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Four dreams help structure TC:  Criseyde&#039;s about Pandarus and about the eagle; Troilus&#039;s about his fall and about the boar.  The dreams reveal character:  Criseyde&#039;s dreams cause no narrative conflict; Troilus&#039;s become an essential part of his story.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261901">
    <dcterms:title><![CDATA[The &#039;Knight&#039;s Tale&#039; and the Hundred Years&#039; War]]></dcterms:title>
    <dcterms:description><![CDATA[The tournament described in Part IV is archaic.  Chaucer&#039;s purpose is to dissociate the Knight from the ideals of his age and thus align the tale with its narrator&#039;s portrait in the GP as an implicit reproval of the Hundred Years&#039; War.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263206">
    <dcterms:title><![CDATA[The &#039;Knight&#039;s Tale&#039;, 2639: Guilt by Punctuation]]></dcterms:title>
    <dcterms:description><![CDATA[A comma at the end of line 2639 suggests that Emetreus has treacherously struck Palamon.  Editorial punctuation could be contrary to Chaucer&#039;s intention, which may have been to leave the sense ambiguous.  We need an edition of Chaucer without modern pointing imposed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273277">
    <dcterms:title><![CDATA[The &#039;Knight&#039;s Tale&#039;: Incident, Idea, Incorporation.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies five structural units in the narrative of the KnT and reads them as a unified, seriatim manifestation of a world that is &quot;tyrannized by mutability,&quot; resistant to individual and corporate efforts to find or impose order, and sensible only through acceptance of Fortune.]]></dcterms:description>
</rdf:Description></rdf:RDF>