<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/273631">
    <dcterms:title><![CDATA[The Ambivalence of Truth: Chaucer&#039;s &quot;Clerkes Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the combination of religion and secularity in ClT, discussing its fusion of ideals and practical realities as Chaucer&#039;s means to increase the ambivalences of his sources. The tension between the Clerk&#039;s moralization of the Tale and its action increases the ambivalence, as does the Envoi, perhaps a result of the Clerk&#039;s own disturbed awareness of the &quot;discrepancy between the ideal and real worlds&quot; and maybe the reason he is on pilgrimage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267663">
    <dcterms:title><![CDATA[The Amorous Scripture : Ovidian Romance and the Rhetoric of Culture]]></dcterms:title>
    <dcterms:description><![CDATA[Transmission of ancient Greek and Roman culture through Ovid to later tradition affected romance and shaped attitudes in popular literature. Heyworth discusses works by Marie de France, Chrétien de Troyes, Chaucer (with emphasis on politics in the court of Richard II), Shakespeare, and Milton.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269556">
    <dcterms:title><![CDATA[The Anachronism of Imagining Film in the Middle Ages: Wegener&#039;s &#039;Der Golem&#039; and Chaucer&#039;s Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval allegory &quot;prefigures cinematic consciousness.&quot; In Wegener&#039;s film &quot;Der Golem,&quot; &quot;Judaeo-Christian figural allegory, coupled with the narratology and the phenomenology of film,&quot; shifts &quot;the deep past into the present in centrifugal, shocking, and transformative ways.&quot; In KnT, Chaucer describes murals that contain &quot;an implicit and illusory movement,&quot; like film, moving the viewer &quot;from one perspective to another in mobile fashion.&quot; KnT &quot;bespeak[s] a proto-cinematic consciousness.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261410">
    <dcterms:title><![CDATA[The Analogues of the Pardoner&#039;s Tale and a New African Version]]></dcterms:title>
    <dcterms:description><![CDATA[The Basata people of Zaire have a tale called &quot;Mesapo&quot; that strongly resembles PardT although it was not influenced by Chaucer&#039;s work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272303">
    <dcterms:title><![CDATA[The Anatomy of Compassion: Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Charts the development of the dreamer in BD from concern with abstract grief to concern with real grief and from selfishness to concern for others; this progress effects &quot;a detailed anatomy of compassion&quot; that encourages compassion in Chaucer&#039;s readers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268622">
    <dcterms:title><![CDATA[The Ancestor&#039;s Tale: The Dawn of Evolution]]></dcterms:title>
    <dcterms:description><![CDATA[Dawkins uses the frame-and-tale structure of CT to organize a series of excurses on evolution and the development of biological life. Recurrent references to Chaucer and CT, with brief discussion on evolutionary biology as a model in the Canterbury Tales Project.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268533">
    <dcterms:title><![CDATA[The Ancestry of Sir Paon de Ruet, Father-in-Law of Geoffrey Chaucer and of John &#039;of Gaunt&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Brook suggests that Sir Paon de Ruet may have been &quot;a cadet of the family of the Lords of Roeulx&quot; and part of the entourage of Philippa of Hainaut. He was probably born about 1309.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272686">
    <dcterms:title><![CDATA[The Ancient World in John Lydgate&#039;s &#039;Troy Book&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that John Lydgate&#039;s modifications of his sources in his &quot;Troy Book&quot; result in a &quot;convincing picture of the ancient world,&quot; although Lydgate did not achieve the superior historical texture that Chaucer produced in KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273169">
    <dcterms:title><![CDATA[The Anglo-Norman &#039;Hugo de Lincolnia&#039;: A Critical Edition and Translation from the Unique Text in Paris, Bibliothèque nationale de France, MS fr. 902]]></dcterms:title>
    <dcterms:description><![CDATA[Edits and translates a hitherto unknown Anglo-Norman analogue to PrT. The &quot;Hugo de Lincolnia&quot; is the only vernacular version of the story of Little St. Hugh of Lincoln produced contemporaneously with Chaucer&#039;s hagiographical  tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271801">
    <dcterms:title><![CDATA[The Anglo-Scottish Border and the Shaping of Identity, 1300-1600]]></dcterms:title>
    <dcterms:description><![CDATA[For two essays that pertain to Chaucer, search for Anglo-Scottish Border and the Shaping of Identity under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274206">
    <dcterms:title><![CDATA[The Animal in Allegory: From Chaucer to Gray.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the category of &quot;allegorical animal poems&quot; disguises the fact that such poems &quot;simultaneously hide and reveal the contested nature of the boundary between humans and animals.&quot; Comments on fable tradition, the nature of allegory, and various animal poems, including NPT and NPE, for the ways that they draw attention to the characters&#039; &quot;animality&quot; and connect allegorical meanings with &quot;the unstable divide between humans and animals.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273362">
    <dcterms:title><![CDATA[The Animal-Human Double Context in Beast Fables and Beast Tales of Chaucer and Henryson.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;double-contextual development&quot; of characters and their actions in beast tales and beast fables, investigating double meanings (animal and human) in such narratives. Includes discussion of how NPT follows the Renart tradition in this regard.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271888">
    <dcterms:title><![CDATA[The Animals of the Hunt and the Limits of Chaucer&#039;s Sympathies]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies Chaucer&#039;s depictions of hunting in BD, LGW, and FranT, and argues that these, in contrast with other works in Middle English, show a &quot;marked lack of sympathy for animals as quarries.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271856">
    <dcterms:title><![CDATA[The Animals that Therefore They Were: Some Chaucerian Animal/Human Relationships]]></dcterms:title>
    <dcterms:description><![CDATA[Explores human affiliations with the &quot;non-power&quot; of animals in four Chaucerian images: capons in PardT, mouse in WBP (in contrast with lioness), stags in KnT, and carrion in ClT. Contrasts these with the brass steed as an image of power in SqT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270892">
    <dcterms:title><![CDATA[The Anonymous Text: The 500-Year History of &quot;The Assembly of Ladies&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Questions why &quot;The Assembly of Ladies&quot; has been in print for so long and explores the role of its anonymity in its publishing history. Addresses its attribution to Chaucer, affiliations with the corpus of his works, and surmises about female authorship of &quot;The Assembly.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273533">
    <dcterms:title><![CDATA[The Anti-Crusade Voice of Chaucer&#039;s &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that along with works by Langland and Gower, Chaucer&#039;s writings, especially CT, may be read as an indirect critique of crusading.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276590">
    <dcterms:title><![CDATA[The Anti-Jewish Prejudice in Christopher Marlowe&#039;s &quot;Jew of Malta,&quot; William Shakespeare&#039;s &quot;Merchant of Venice&quot; and Geoffrey Chaucer&#039;s &quot;Prioress&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the antisemitism in the three works, describing the Jews of PrT as &quot;an undistinguished mass with no face, and no individuality, a mass that can instinctively react, if given a chance, against their Christian neighbour&quot;; they are less distinct than the Jewish characters in Marlowe&#039;s and Shakespeare&#039;s works, perhaps attributable to the Prioress&#039;s parochiality and lack of human charity, but also typical of medieval and early modern England.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262502">
    <dcterms:title><![CDATA[The Anti-Lollardry of Chaucer&#039;s Parson]]></dcterms:title>
    <dcterms:description><![CDATA[Those similarities to Lollard doctrine--protest against blasphemy, unwillingness to &quot;curse for tithes,&quot; and distaste for storytelling--that have been used to argue that Chaucer&#039;s Parson was a Lollard or Wycliffite were not peculiar to the Lollards; they were common to orthodox men such as Bromyard and John Myrc as well as to certain of the Church fathers.]]></dcterms:description>
    <dcterms:description><![CDATA[A comparison of the Parson&#039;s scriptural proofs with similar passages from the Wycliffite Bible reveals a technique closer to that of the postilator Nicolas de Lyra and strongly suggests that the Parson--rather than being a Lollard--was &quot;meant to stand as the best of the zealous, orthodox priests whose standards, if followed universally, would put Wycliff&#039;s criticisms, at least at the parochial level, out of court.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263156">
    <dcterms:title><![CDATA[The Antifraternal Tradition in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Hostile propositions about the friars (&quot;antifraternalism&quot;) in polemical tracts, works of theology, and literary fictions belong to a common literary tradition that began with the polemics against the friars of William of Saint Amour, with arguments founded in biblical exegesis and proposed eschatological conclusions.]]></dcterms:description>
    <dcterms:description><![CDATA[In England, the tradition continued with Richard FitzRalph, who concentrated more on ecclesiology than on eschatology, and John Wyclif, who identified the friars with &quot;sign worship&quot; and concentrated more on (conservative) eschatology than on ecclesiology.]]></dcterms:description>
    <dcterms:description><![CDATA[Several minor English poems fit into the tradition, as do major works of Gower, Chaucer, and Langland.  A reading of SumT displays its prominent antifraternalism and shows that its author &quot;was preoccupied with decline and crisis.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[The antifraternalism of &quot;Piers Plowman&quot; is both ecclesiological and eschatological; Langland&#039;s use of the tradition aids particularly in understanding the final passus of &quot;Piers,&quot; which treats in its two halves respectively the imminent death of the narrator and the imminent end of the Church.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273860">
    <dcterms:title><![CDATA[The Antifraternalism of the &quot;Summoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges arguments that seek to identify the friar of SumT with a specific fraternal order and adduces the Rules of various fraternal orders and commentaries on these Rules to show that &quot;general antifraternal literature&quot; underlies many details of Chaucer&#039;s ironic satire: the nature of glossing and the possession of books, church building, competition with the secular clergy, the equation of money or gold with flatulence, etc. Argues that the friar of SumT is &quot;a kind of &#039;stage friar&#039; who sums up everything that is wrong with the mendicant orders from a fourteenth-century English secular point of view.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264121">
    <dcterms:title><![CDATA[The Antiquarian as Literary Artist: Virginia Woolf on Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Woolf manages, in her essay &quot;The Pastons and Chaucer,&quot; artfully and expertly to conjure up the medieval period while also insisting that Chaucer&#039;s gift as a storyteller depends on his creation of an art that improves upon life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276283">
    <dcterms:title><![CDATA[The Anxiety Dream from Homer to Milton.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers background and context for various kinds of &quot;unsettling&quot; dreams in literature, mentioning that Pertelote treats Chanticleer&#039;s &quot;anxiety dream&quot; in NPT 7.2882ff. &quot;as a cryptic diagnosis [of humoral disorder] which required immediate prescription and regimen.&quot; ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271917">
    <dcterms:title><![CDATA[The Anxiety of Auctoritas: Chaucer and &#039;The Two Noble Kinsmen&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes John Fletcher&#039;s and William Shakespeare&#039;s collaboration on &quot;The Two Noble Kinsmen,&quot; an interpretation of KnT, and offers how &quot;The Two Noble Kinsmen&quot; represents a &quot;meditation . . . of the vernacular literary canon,&quot; as it allegorizes the treatment of auctoritas and Chaucer&#039;s influence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271553">
    <dcterms:title><![CDATA[The Anxiety of Exclusion: Speech, Power, and Chaucer&#039;s Manciple]]></dcterms:title>
    <dcterms:description><![CDATA[Reads CYP and ManPT in light of Agamben&#039;s theories of sovereignty and exclusion and de Certeau&#039;s notion of a &quot;person in-between,&quot; considering as well several instances of slander and accusation in late-medieval London records. London, the Host, and Phebus are all sites of sovereign power (defined by the ability to except), while the Manciple&#039;s mother embodies a &quot;critique of sovereignty&quot; (216), part of Chaucer&#039;s concern with the &quot;insecurity of public utterance&quot; (191).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261604">
    <dcterms:title><![CDATA[The Apocalyptic Imagination in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Examining Joachim of Fiore, Bonaventure&#039;s Legenda Maior, Roman de la rose, Dante&#039;s Commedia, and CT, Emmerson and Herzman argue that, in eschatological perspective, CT exemplifies typical medieval apocalyptic thought.  The general structure, pilgrimage/penance motifs, concerns with simony, specific allusions to Simon Magus and the Antichrist, and inversions with figures and patterns of realistic detail or comic relief combine to move CT from the particular to universal eschatology.]]></dcterms:description>
    <dcterms:description><![CDATA[Discusses FrT, KnT, MilT, PardT, ParsPT, Ret, RvT, ShT, SumT, and Truth.]]></dcterms:description>
</rdf:Description></rdf:RDF>