<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/272895">
    <dcterms:title><![CDATA[The Age of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; the single WorldCat record states that this is a filmstrip for children, with &quot;Photographs of original pictures and the English countryside [that] illustrate life in the Middle Ages in England.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276533">
    <dcterms:title><![CDATA[The Age of Chaucer and Whittington: 1348-1485.]]></dcterms:title>
    <dcterms:description><![CDATA[Chapter 4 of a social history of London, with emphasis on the plague, the status of the Church, the vivid characterizations of CT as a &quot;window on the world . . . in all its richness,&quot; and Richard Whittington&#039;s mayoralty. Also published in The City on the Thames. The Creation of a World Capital: A History of London (New York: Pegasus,<br />
2020), pp. 43-52.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274575">
    <dcterms:title><![CDATA[The Age of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[A short introduction to Chaucer&#039;s England, his contemporaries, his life, and his literary career. In Japanese with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277713">
    <dcterms:title><![CDATA[The Age of Chaucer. Volume I of a Guide to English Literature: With an Anthology of Medieval Poems.]]></dcterms:title>
    <dcterms:description><![CDATA[Anatomizes Middle English poetry, with fourteen essays by various authors on various literary topics (one on architecture by Nikolaus Pevsner), selections from Middle English verse, brief lives of the writers, suggestions for further readings, and a comprehensive index. Includes no works by Chaucer among the selections, but provides a life and pertinent suggestions for further reading (pp. 474-75). References to Chaucer and his influence recur in the essays; three pertain to his works directly, one of them (on PardPT) reprinted from John Speirs&#039; &quot;Chaucer the Maker&quot; (1951). For two essays that pertain to Chaucer originally printed here, search for The Age of Chaucer. Volume I of a Guide to English Literature under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261352">
    <dcterms:title><![CDATA[The Age of Saturn: Literature and History in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Examines CT within the social and political life of the later fourteenth century.  Chaucer had an unusually assimilative, syncretic, and integrative imagination, but he lived at a time of disintegrating social and religious forms and values.  He was not a poet who chose to &quot;rise above&quot; such circumstances; rather, he wrote words that articulate and analyze, sometimes in coded form, the specific problems he and his society faced.]]></dcterms:description>
    <dcterms:description><![CDATA[  His tendency was not to offer easy solutions but to provoke,air, and sustain debate, often by adopting the point of view of a Christian radical.  Specific chapters discuss the Wife of Bath, the Franklin, the Pardoner, the Merchant, and the Knight.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276755">
    <dcterms:title><![CDATA[The Age of Troilus.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers evidence that Troilus is &quot;extremely young&quot; in TC, comparing details from Boccaccio&#039;s &quot;Filostrato&quot; and other analogues.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262873">
    <dcterms:title><![CDATA[The Ages of Man: A Study in Medieval Writing and Thought]]></dcterms:title>
    <dcterms:description><![CDATA[Deals with medieval systems of dividing life into ages, with ages based on time divisions, and with exhortations to overcome the difficulties of various ages and to act one&#039;s age.  Discusses the GP Squire as a youth, the Wife of Bath&#039;s youth, old January, and Theseus in the middle of a three-age scheme.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272330">
    <dcterms:title><![CDATA[The Ages of Troilus, Criseyde, and Pandarus]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the ambiguities and implications of the ages of the protagonists in TC, considering evidence that indicates Troilus is &quot;twenty or less,&quot; Criseyde, &quot;several years older,&quot; and Pandarus, a &quot;middle-aged trendy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266719">
    <dcterms:title><![CDATA[The Aim Was Song: From Narrative to Lyric in &#039;The Parlement of Foules&#039; and &#039;Love&#039;s Labours Lost&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[PF and &quot;Love&#039;s Labours Lost&quot; develop similar relations between lyrics and poetic or dramatic narratives.  Shakespeare emulated Chaucer&#039;s movement from narrative to song--a psychoanalytic release from courtly or social constraint into &quot;cosmic, creative eros.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267226">
    <dcterms:title><![CDATA[The Alba Lady, Sex-Roles, and Social Roles : &#039;Who Peyntede the Leon, Tel Me Who?&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The twelfth-century alba genre offered a more flexible paradigm for gender roles than critics have realized, a flexibility that Chaucer, in his appropriation of the alba in TC, continues and capitalizes on as he highlights the lovers&#039; differences in their respective characters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273588">
    <dcterms:title><![CDATA[The Alchemist in Literature: From Dante to the Present.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the figure of the alchemist and the uses of alchemical imagery in western literature, focusing on how satire and trivialization of the subject gave way to more esoteric uses, especially as the practice of alchemy gave way to chemistry. Includes a summary (pp. 28–32) of CYT as an early example of satire with touches of esoteric knowledge, and suggests in passing how John Lyly&#039;s &quot;Galathea&quot; (1592) is &quot;indebted extensively&quot; to Chaucer&#039;s tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277131">
    <dcterms:title><![CDATA[The Alchemy of Failure: Combining Facts and Fictions in Chaucer&#039;s &quot;The Canon&#039;s Yeoman&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Anatomizes the theme and structures of failure in CYPT, contrasting the Canon&#039;s Yeoman and Chaucer-pilgrim as narrators, and tallying ways that failure dominates the narrative: failed science, failed rhetoric, failed comedy, failed moralizing, and failure to control self-narration.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269317">
    <dcterms:title><![CDATA[The Alchemy of Imagination and the Labyrinth of Meaning: Some Caveats About the Afterlife of Sources]]></dcterms:title>
    <dcterms:description><![CDATA[Collette offers Umberto Eco&#039;s notion of a &quot;rhizome labyrinth&#039;s indefinite structure&quot; as a heuristic tool for describing the relationship of a text to its &quot;cultural matrix&quot; rather than to specific sources. Focuses on CYT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264156">
    <dcterms:title><![CDATA[The Alchemy of Spring in Chaucer&#039;s &#039;General Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Zephirus&quot; and &quot;licour&quot; are not merely stylistic adornment but referential as well.  The words evoke alchemical change and purification, themes that run through many of the tales and conclude the collection in ParsT with spiritual rebirth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262386">
    <dcterms:title><![CDATA[The Alienated Protagonist: Some Effects of Generic Interaction in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Protagonist and narrative are usually aligned in medieval literature, but the protagonist is alienated from the narrative when his or her ethos conflicts with generic context, as in Chaucer&#039;s TC and CYT and in works of Malory and Hoccleve, among others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271508">
    <dcterms:title><![CDATA[The Allegorical Matrix: Technique and Tradition in Renaissance Allegory]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Chaucer, Spenser, Homer, Virgil, and Bunyan as test specimens in the presentation of allegory as a vision of superimposed frames of reference.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266281">
    <dcterms:title><![CDATA[The Allegory of the &#039;Retraction&#039; and the Retraction of Allegory]]></dcterms:title>
    <dcterms:description><![CDATA[The allegory of ParsPT assumes that literature can somehow represent truth, while the theology of ParsPT emphasizes the impossibility of humanity&#039;s comprehending such truth.  Ret espouses a mediating negative allegory that indicates divine ineffability and thereby equates secular and sacred poetries as limited--and equivalent--means to truth.]]></dcterms:description>
    <dcterms:description><![CDATA[In Korean with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273670">
    <dcterms:title><![CDATA[The Allegory of the &quot;Tale of Melibee.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Mel as a &quot;moral allegory,&quot; identifying where (in relative degrees) Chaucer and his sources encourage peaceable Christian humility and reliance upon on God&#039;s aid rather than self-assertive militancy in resisting the world, the flesh, and the devil.. Chaucer&#039;s use of the name &quot;Sophie&quot; indicates his interest in this emphasis, and heightens it. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272015">
    <dcterms:title><![CDATA[The Alliterative Ancestry of Dunbar&#039;s &#039;The Tretis of the Tua Mariit Wemen and the Wedo&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Claims that William Dunbar&#039;s debt to Chaucer (WBPT) in his &quot;Tua Meriit Wemen and the Wedo, &quot;although &quot;important and considerable, is often exaggerated beyond helpfulness.&quot; The poem owes a great deal to earlier alliterative poetry, in particular &quot;Pearl&quot; by way of the mediating poem, &quot;Tayis Bank.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264762">
    <dcterms:title><![CDATA[The Alliterative Lyric and Thirteenth-Century Devotional Prose]]></dcterms:title>
    <dcterms:description><![CDATA[The large amount of alliteration in narrative and lyric poetry of the courtly tradition, including Chaucer&#039;s poetry, is derived from certain veins of devotional prose of the thirteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264074">
    <dcterms:title><![CDATA[The Alternative Reading of &#039;The Canterbury Tales&#039;: Chaucer&#039;s Text and the Early Manuscripts]]></dcterms:title>
    <dcterms:description><![CDATA[Manuscript evidence indicates that only after Chaucer&#039;s death did editors assemble copies of individual tales and links to arrange the fragments (reflecting various stages of development in Chaucer&#039;s plan) into their differing ideas of a coherent book.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271028">
    <dcterms:title><![CDATA[The Ambassadors&#039; Secret: Holbein and the World of the Renaissance]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;highly contrived&quot; allegory of Hans Holbein&#039;s painting, &quot;The Ambassadors&quot; (1533), assessing its religious theme as conveyed through evocations of &quot;astronomy and geometry, optics and various occult arts.&quot; Also argues that the painting alludes to astronomical details related to Good Friday that are included in Chaucer&#039;s ParsP, details that may have been conveyed to Holbein by way of Francis Thynne.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268205">
    <dcterms:title><![CDATA[The Ambiguity of the Phrase &#039;As She That&#039; in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Nakao assesses the use of &quot;as she that&quot; as it is applied to Criseyde, identifying the unusually high frequency of the phrase in TC, its various functions and semantic range, and the way that Chaucer exploits this variety &quot;to hold in balance his opposite attitudes towards Criseyde.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271225">
    <dcterms:title><![CDATA[The Ambiguous Greek in Old French and Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates various characterizations of Greeks in Old French and Middle English, including that of Diomede in TC, a depiction &quot;informed by classical ideas and Chaucer&#039;s depictions of Jews and Saracens in other works.&quot; Troilus, in contrast, is proto-Christian.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270305">
    <dcterms:title><![CDATA[The Ambivalence of Truth: Chaucer&#039;s &#039;Clerkes Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Adjustments to the traditional narrative in ClT compel us to read Walter, Griselda, and the &quot;peple&quot; as complex characters, rich in ambiguity, in a setting that &quot;moves between an ideal and  real world&quot; (27). These complications enrich the simple morality of the Saint&#039;s Legend genre, and indicate that the Clerk is in an &quot;intellectual predicament,&quot; unable to be comfortable with simplistic morality.]]></dcterms:description>
</rdf:Description></rdf:RDF>
