<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/264308">
    <dcterms:title><![CDATA[The &#039;Other&#039; Voice: Woman&#039;s Song, Its Satire and Its Transcendence in Late Medieval British Literature]]></dcterms:title>
    <dcterms:description><![CDATA[The vernacular &quot;woman&#039;s song&quot; focuses passively on the beloved (not the speaker&#039;s feelings), powerless to control the beloved.  Such features serve as a context to analyze the &quot;comic sex- and/or class-role reversal&quot; in RvT, MerT, and Antigone&#039;s Song and Criseyde&#039;s &quot;aube&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262107">
    <dcterms:title><![CDATA[The &#039;Parlement of Foules&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses irresolution, style, persona, the &quot;experiential labyrinth,&quot; Chaucer&#039;s sources, and the relationship of PF to the contemporary political world.  The term &quot;Parlement&quot; evokes the university and law.  The chapter is divided into five parts:  &quot;Genre and Structure:  Explicit and Implicit Debate&quot;; &quot;Experiential Realism&quot;; &quot;Recreational Irresolution&quot;; &quot;Social Referents, Audience, and  Occasion&quot;; and &quot;Philosophical Backgrounds.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266721">
    <dcterms:title><![CDATA[The &#039;Parlement of Foules&#039; and &#039;Inferno&#039; 5]]></dcterms:title>
    <dcterms:description><![CDATA[Like &quot;Inferno&quot; 5, PF contains references to Earthly Paradise and Hell, the dream, and the fate of those who attend to private lusts.  Dante compares the plight of souls to that of several kinds of birds, including three of the four bird categories in PF.  The descriptions of the lovers painted on the wall in the Venus temple contain six additional names derived from &quot;Inferno&quot; 5, and like Dante&#039;s narrator, Chaucer&#039;s &quot;I&quot; is only an observer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262033">
    <dcterms:title><![CDATA[The &#039;Parlement of Foules&#039; and the Body Politic]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s unifying theme in PF is political rather than otherworldly.  It involves the contrast between an orderly world governed by natural law (the gate&#039;s first inscription and Scipio&#039;s &quot;commune profit&quot;) and a chaotic world controlled by selfish and irresponsible leadership (the gate&#039;s second inscription and the cacophonous &quot;foules&quot;).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266718">
    <dcterms:title><![CDATA[The &#039;Parlement of Foules&#039;: A Theodicy of Love]]></dcterms:title>
    <dcterms:description><![CDATA[PF offers an example of Chaucer&#039;s intertextuality.  The two &quot;olde bokys&quot; mentioned--Macrobius&#039;s commentary on &quot;Somnium Scipionis&quot; and Alain de Lille&#039;s &quot;De planctu naturae&quot;--inform the themes of suffering in love and the limitations of natural law in the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264939">
    <dcterms:title><![CDATA[The &#039;Parliament of Fowls&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Substantive criticism of PF really begins in 1935 with Bronson, who stated that the poem is a study of contrasts between man&#039;s views of love.  Later critics have elaborated this view, noting the polarities of the work:  the &quot;Somnium&quot; and the garden, &quot;caritas&quot; and passion, Africanus and Cytherea.]]></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/262109">
    <dcterms:title><![CDATA[The &#039;Parliament of Fowls&#039; and Late Medieval Voluntarism. Parts 1 and 2]]></dcterms:title>
    <dcterms:description><![CDATA[Although PF clearly treats love and courtship, its most central or motivating problems is the relationship between choice and will or understanding.  Chaucer demonstrates a more thoroughly informed engagement with contemporary philosophy than critics have previously noted.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264468">
    <dcterms:title><![CDATA[The &#039;Parliament of Fowls&#039;: Authority, the Knower and the Known]]></dcterms:title>
    <dcterms:description><![CDATA[It has been argued that the poem exhibits multiplicity and disharmony, though the poet shows a commitment to traditional forms of culture.  There is no such commitment in PF.  The multiplicity of authority and the &quot;continuous self-reflexivity&quot; does not permit the poem to be subsumed into a pattern of orthodox theodicy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262035">
    <dcterms:title><![CDATA[The &#039;Parliament of Fowls&#039;: The Narrator, the &#039;Certyn Thyng&#039;, and the &#039;Commune Profyt&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The &#039;certyn thyng&#039; the narrator deludedly pursues through scholarly exploration is the necessity of undergoing experience (i.e., entering the gates &quot;for better of for worse&quot;) to discover the meaning of love.  Nature&#039;s concern for the &quot;commune profyt&quot; shows this meaning:  the process of constant renewal out of disharmony and conflict.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265111">
    <dcterms:title><![CDATA[The &#039;Parson&#039;s Tale&#039; and the Quitting of the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Comparison with contemporary documents show ParsT to be a manual for penitents; homiletic elements are minimal and the appeal is to reason rather than the emotions.  Despite numerous minor inconsistencies ParsT has a clear and effective structure.  Parallel passages in other tales indicate late composition.  ParsT and Ret, instead of reflecting back on the tales, represent a progressive withdrawal from fiction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265999">
    <dcterms:title><![CDATA[The &#039;Parson&#039;s Tale&#039;: Ending &#039;Thilke Parfit Glorious Pilgrymage That Highte Jerusalem Celestial&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[ParsT critiques both the tales in CT and life, as well as concluding CT.]]></dcterms:description>
    <dcterms:description><![CDATA[The tales and the Parson&#039;s meditation work together in a &quot;problem-solution relationship.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[The tales present betrayals and sins through a variety of voices and genres, while ParsT creates a new tone to remedy and exonerate the betrayals in the tales and in life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268195">
    <dcterms:title><![CDATA[The &#039;Peynted Process&#039;: Italian to English in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, Chaucer&#039;s &quot;greater vehemence,&quot; his increase in specificity, and his heightening of emotion characterize his adaptations of Boccaccio&#039;s &quot;Filostrato.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265931">
    <dcterms:title><![CDATA[The &#039;Physician&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the Physician as a skillful practitioner and comments on PhyT, audience response to the tale, sources, arrangement of materials, and Chaucer&#039;s message.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271987">
    <dcterms:title><![CDATA[The &#039;Physician&#039;s Tale&#039; and Love&#039;s Martyrs: &#039;Ensamples Mo Than Ten&#039; as a Method in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Studies aspects of PhyT that derive from hagiography, particularly its emphasis on Virginia as a &quot;virgin martyr,&quot; not found in Chaucer&#039;s sources. As a result of Chaucer&#039;s various changes and genre modifications, the tale raises &quot;grave questions of absolute and relative moral authority.&quot; Like other Chaucerian tales of victimization (especially ClT and those in LGW), PhyT challenges its audience to reassess moral categories and assumptions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263512">
    <dcterms:title><![CDATA[The &#039;Physician&#039;s Tale&#039;: The Doctor of Physic&#039;s Diplomatic &#039;Cure&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Host&#039;s aversion to this tale is a clue to its interpretations:  the narrator, a typical medieval physician, reveals himself and his profession through his narration.  The death of Virginia is emblematic of the Physician&#039;s lack of concern for his patient&#039;s death.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266931">
    <dcterms:title><![CDATA[The &#039;Povre Widwe&#039; in the &#039;Nun&#039;s Priest&#039;s Tale&#039; and Boccaccio&#039;s &#039;Decameron&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The vivid details of Decameron 7.3 (the story of Friar Rinaldo)-the corrupt clergy, their obesity and sweating faces, their rich foods and wine, together with the simplicity of the widow&#039;s life-suggest that Boccaccio&#039;s work may have inspired NPT as a pointed satire of the clergy&#039;s failure (especially the Monk&#039;s) to meet the needs of lay people.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273255">
    <dcterms:title><![CDATA[The &#039;Present Eternite&#039; of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes how the Boethian concept of divine (fore)knowledge of eternity underlies various aspects of TC and explores how narrative devices, allusions, the treatment of time, and the epilogue evoke the &quot;illusion of &#039;present eternite&#039; for the reader in relation to the poem.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272491">
    <dcterms:title><![CDATA[The &#039;Prioress&#039;s Tale,&#039; Sonorous and Silent]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how song and sound create narrative meaning within PrT. Chaucer&#039;s choice of using the antiphon, &quot;Alma redemptoris mater,&quot; reveals the &quot;transformative force that sound bears.&quot; Discusses issues of performance, voice, and silences; aural reception and community; and societal conflicts between urban Jews and Christians.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271701">
    <dcterms:title><![CDATA[The &#039;Prioress&#039;s Tale&#039; and Chaucer&#039;s Anti-Semitism]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges critics who absolve Chaucer of anti-Semitism by blaming the Prioress instead. Anti-Semitism was rife in Chaucer&#039;s society, and he was likely complicit in the bias. Yet, the topic is a critical distraction in discussions of PrT, which emphasizes the Prioress&#039;s reverence for the Mary and her dramatizes her &quot;indulgence in pathos and sentimentality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267531">
    <dcterms:title><![CDATA[The &#039;Prive Scilence&#039; of Thomas Hoccleve]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses aspects of &quot;Regement of Princes&quot; to demonstrate Hoccleve&#039;s poetic subtlety, especially the ways he capitalizes on the idea that as a member of the &quot;emergent administrative class,&quot; he had &quot;restricted information.&quot; Discusses Pandarus of TC as a precursor to the old man of Regement.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263048">
    <dcterms:title><![CDATA[The &#039;Prologue&#039; to Chaucer&#039;s &#039;Legend of Good Women&#039; in Cambridge Library MS Gg.4.27 and Johns Urry&#039;s &#039;Works&#039; of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Bradshaw was not the first to cite the LGW text in Gg.4.27.  Urry used line 58 from this manuscript for line 56 of the Speght text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263385">
    <dcterms:title><![CDATA[The &#039;Queynte&#039; Punnings of Chaucer&#039;s Critics]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses bawdy words, obscenities, and euphemisms in Chaucer,exposing fallacies in overzealous scholarly search for obscene puns.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in &quot;Contradictions: From Beowulf to Chaucer:  Selected Studies of Larry D. Benson,&quot; ed. Theodore M. Andersson and Stephen A. Barney (Aldershot. Hant: Scolar; Brookfield, VT: Ashgate, 1995).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264563">
    <dcterms:title><![CDATA[The &#039;Reeve&#039;s Tale,&#039; &#039;Le Meunier et les ii Clers&#039; and the &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s improvements result from adapting source to the framework of CT--giving the tale to the highly individualized Reeve, whose emphasis upon &quot;quitting&quot; the Miller requires that Symkin become the strongest character in the tale.  The most successful changes occur in the fight scene, where Chaucer expedites the action by involving the second clerk and the wife.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272062">
    <dcterms:title><![CDATA[The &#039;Reeve&#039;s Tale&#039; and the Comedy of Limitation]]></dcterms:title>
    <dcterms:description><![CDATA[Reads RvP as a &quot;confession of old age&quot; and RvT as a &quot;tribute&quot; to unrestrained passion and an extension of the concern with love in KnT and MilT. Compares RvT with its analogues, and comments on its characterizations, the straightforwardness of its comedy, its style, and its thematic concerns with &quot;space and place&quot; and with the &quot;inescapable reality of the real world.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272540">
    <dcterms:title><![CDATA[The &#039;Reeve&#039;s Tale&#039; and the King&#039;s Hall, Cambridge]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the literary and historical implications of identifying &quot;Soler Hall&quot; in RvT (1.3990) as King&#039;s Hall, Cambridge. Favors the variant &quot;Scoler.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>