<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/271738">
    <dcterms:title><![CDATA[The &#039;Reeve&#039;s Tale&#039; as a Fabliau]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in its concern with social pretension and its atmosphere of &quot;game and contest,&quot; RvT is better regarded as a comic fabliau than as a tale of vengeance that reflects its teller. Compares and contrasts RvT with several fabliaux, including &quot;Berangier au lonc cul,&quot; &quot;Le Meunier et les deux clers,&quot; and Chaucer&#039;s own.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264164">
    <dcterms:title><![CDATA[The &#039;Reeve&#039;s Tale&#039;, Symkyn, and Simon the Magician]]></dcterms:title>
    <dcterms:description><![CDATA[Symkyn&#039;s name is diminutive of Simon and thus calls up the story of Simon the Magician as found in the Acts of Peter.  In a larger sense the rise and inevitable fall of pride that is the tales structural skeleton gains resonance when placed against the fate of the archetypal Simon.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262789">
    <dcterms:title><![CDATA[The &#039;Religion of Love&#039; in Chaucer&#039;s &#039;Troilus and Criseyde&#039; and Medieval Visual Art]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval concepts of love and sex were derived from the worship of Venus, the goddess of love.  Art of the period shows men worshipping Venus, as well as men and women trying to win each other&#039;s love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262276">
    <dcterms:title><![CDATA[The &#039;Roman de la Rose&#039; and Chaucer&#039;s Narrators]]></dcterms:title>
    <dcterms:description><![CDATA[A comparison of Chaucer&#039;s narrators and the narrative voices of the &quot;Roman&quot; may clarify the continuing debates on the characteristics of his narrators, their function within the dream poems, and their relation to other narrative voices.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262128">
    <dcterms:title><![CDATA[The &#039;Second Nun&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examining both ecclesiastical and societal patriarchies, SNT addresses medieval concepts of power, authority, and autonomy.  It places Cecilia&#039;s spiritual vision in the context of a broader secular and sacred order.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263952">
    <dcterms:title><![CDATA[The &#039;Sentence&#039; and &#039;Solaas&#039; of Chaucer&#039;s &#039;Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Philosophical, Christian, rhetorical, and courtly traditions&quot; provide bases for the morality and mirth of CT, especially NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266128">
    <dcterms:title><![CDATA[The &#039;Sermons&#039; of English Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Thematic sermon structure, as delineated in English &quot;artes    praedicandi,&quot; influenced romances as well as other genres.  This influence can be seen in &quot;Sir Amadace,&quot; &quot;Sir Gawain and the Green Knight,&quot; KnT (Theseus&#039;s speech on order), WBT (the loathly lady&#039;s lecture), TC (Criseyde&#039;s discourse on jealousy 3.987-1054), and Robert Henryson&#039;s &quot;Testament of Cresseid.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272622">
    <dcterms:title><![CDATA[The &#039;Shipman&#039;s Tale&#039;: The Italian Analogues]]></dcterms:title>
    <dcterms:description><![CDATA[Reconsiders relations among ShT, Sercambi&#039;s &quot;Novelle&quot; no. 31, and Boccaccio&#039;s &quot;Decameron&quot; nos. 8.1 and 8.2, suggesting that it is &quot;not unreasonable&quot; to think that Chaucer &quot;might have known all three of the analogues.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271846">
    <dcterms:title><![CDATA[The &#039;Silly&#039; Pacifism of Geoffrey Chaucer and Terry Jones]]></dcterms:title>
    <dcterms:description><![CDATA[Corroborates Terry Jones&#039;s view that Chaucer was a pacifist, and argues that Jones and Chaucer both use humor and indirection against war. Chaucer was very earnest in his critiques of war in Mel and ParsT, but less direct in KnT and his description of the Knight. Chaucer was downright funny in Th, although equally critical of battle.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263539">
    <dcterms:title><![CDATA[The &#039;Slidynge&#039; Yeoman: The Real Drama in the &#039;Canon&#039;s Yeoman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Establishes relationships between CYP and parts of CYT.  The Yeoman shows himself as unstable as alchemy, caught between desire for success and fear of losing his soul.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263593">
    <dcterms:title><![CDATA[The &#039;Sodeyn Diomede&#039;--Chaucer&#039;s Composite Portrait]]></dcterms:title>
    <dcterms:description><![CDATA[Diomede in TC is a composite character of traits recalling Troilus the courtly lover and Pandarus the crafty pragmatist.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261986">
    <dcterms:title><![CDATA[The &#039;Speculum Stultorum&#039; and the &#039;Nun&#039;s Priest&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In its narrative strategy and its theme of the comic irrelevance of the abstractions on which men try to base their lives, Nigel of Longchamps&#039; medieval Latin beast fable, &quot;Speculum Stultorum,&quot; provided a suggestive model for Chaucer&#039;s NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261711">
    <dcterms:title><![CDATA[The &#039;Squire&#039;s Tale&#039; and the Limits of Non-Mimetic Fiction]]></dcterms:title>
    <dcterms:description><![CDATA[SqT dramatizes the relationship between two types of narrative: the fantastic and the metafictional.  The former is seen in the mirror, ring, steed, and sword brought to Cambyuskan&#039;s court; the latter, in the response to these gifts by the courtiers who view them as &quot;problems in interpretation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263234">
    <dcterms:title><![CDATA[The &#039;Summoner&#039;s Tale&#039; and Medieval Attitudes Towards Sickness]]></dcterms:title>
    <dcterms:description><![CDATA[From Greek medicine, the concept of the six &quot;non-naturals&quot; intensifies and clarifies the relationship between the friar and Thomas and throws light on the summoner in FrT.  The &quot;non-naturals&quot; are circumstances that affect health:  air, sleep and wakefulness, motion and rest, evacuation and repletion, food and drink, and the passions of the mind.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264581">
    <dcterms:title><![CDATA[The &#039;Summoner&#039;s Tale&#039;: 1955-69]]></dcterms:title>
    <dcterms:description><![CDATA[The Friar, who does not want Thomas to divide his money among several confessors, argues that likewise an ill man should not divide his among several physicians.  He thus materializes the penitential injuction not to divide one&#039;s confession among several confessors (see ParsT 1006).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265636">
    <dcterms:title><![CDATA[The &#039;Syntaxis Recepta&#039; of Chaucer&#039;s &#039;Prologue to the Miller&#039;s Tale,&#039; Lines 3159-61]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s phrase is traditionally interpreted, &quot;Yet for all the oxen in my plough, I would not take upon me more than enough (i.e., be overly suspicious).&quot;  A more accurate reading, however, is &quot;I would not take upon me more than the oxen in my plough can handle.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271990">
    <dcterms:title><![CDATA[The &#039;Tale of Melibee&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys critical approaches to Mel and discusses its themes of &quot;the good woman&quot; and forgiveness; also assesses Mel as a complex, multi-leveled allegory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264401">
    <dcterms:title><![CDATA[The &#039;Termes&#039; of Chaucer&#039;s Sergeant of the Law]]></dcterms:title>
    <dcterms:description><![CDATA[After discussing various readings for the phrase, &quot;In termes hadde he cas and doomes alle...&quot; (GP 323), Wentersdorf argues that &quot;term&quot; is equivalent to a court session:  thus, when courts were in session, this man of law had at his disposal all the legal precedents pertaining to the case he was arguing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265702">
    <dcterms:title><![CDATA[The &#039;Thopas-Melibee&#039; Sequence and the Defeat of Antifeminism]]></dcterms:title>
    <dcterms:description><![CDATA[WBT and Mel contain comparable female characters who use discourse to challenge the antifeminist patristic tradition. The plot in both tales--the transformation of a misguided male by a knowledgeable woman--points to a more &quot;peaceful&quot; world where women will have the upper hand.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261792">
    <dcterms:title><![CDATA[The &#039;Townes Wal&#039;: A Frame for &#039;Fre Chois&#039; in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The relationship between Troy&#039;s story and Criseyde&#039;s demonstrates Chaucer&#039;s vision of how common Destiny frames but ultimately releases individual free will.  The &quot;de casibus&quot; frame comments on the human condition; like Troy and Criseyde, we are restrained from within and without yet retain free agency.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272010">
    <dcterms:title><![CDATA[The &#039;Traductio&#039; on &#039;Honde&#039; in the &#039;Wife of Bath&#039;s Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the &quot;stylistic and ironic aspects of &#039;honde&#039;&quot; in WBP, showing how uses of the word and related imagery anticipate the Wife&#039;s mastery of Jankyn.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261719">
    <dcterms:title><![CDATA[The &#039;Translatio&#039; of Chaucer&#039;s Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[The rhetorical trope &#039;translatio&#039; subsumes metaphor, allegory,and irony, providing a basis for understanding how the Pardoner translates himself into his characters and the Old Man into the rioters.  The Pardoner represents his own Otherness while resisting identification with these characters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272508">
    <dcterms:title><![CDATA[The &#039;Translatio&#039; of Memory and Desire in &#039;The Legend of Good Women&#039;: Chaucer and the Vernacular &#039;Heroides&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the influence of Italian and French vernacular versions of Ovid&#039;s &quot;Heroides&quot; on the legends of LGW, where Chaucer engages and undermines the historical emphasis of these vernacular versions and reasserts the literary, rhetorical authority of the Ovidian originals. Also comments on the Ovidianism of letters in TC and on the presentation of LGW in MLP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269670">
    <dcterms:title><![CDATA[The &#039;Trial&#039; of the Narrator in Chaucer&#039;s Prologue to the Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Reads LGWP as an indication of Chaucer&#039;s theory that writing is based largely on the reading of others. Chaucer&#039;s narrator is confronted with the implications of this theory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264979">
    <dcterms:title><![CDATA[The &#039;Troilus&#039; Frontispiece and Chaucer&#039;s Audience]]></dcterms:title>
    <dcterms:description><![CDATA[The famous &quot;Troilus&quot; Frontispiece has created an image of Chaucer&#039;s audience as the royal court with Richard and Ann. But such identification in an unrealistic picture, clearly a presentation-picture variant, is impossible.  Chaucer&#039;s actual audience may well have been a &quot;familiar group&quot; within the court in its widest sense.]]></dcterms:description>
</rdf:Description></rdf:RDF>