<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/264549">
    <dcterms:title><![CDATA[The Art of Impersonation: A General Prologue to the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Readers have over-emphasized the persona of the narrator(s) in CT, making the tales themselves but an appendage to the frame.  But in fact there are many internal contradictions in such a &quot;dramatic&quot; reading of the poem.  The tales are insistently &quot;textual,&quot; i.e., written things, and the only voice is that &quot;of&quot; (not &quot;in&quot;) the text itself.  CT is an extended attempt to see from the manifold points of view of others, and hence one might speak not of &quot;Chaucer the maker&quot; but of &quot;Chaucer the poem.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264465">
    <dcterms:title><![CDATA[The Art of Memory and the Art of Poetry in the &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s address to Thought in the Invocation to book 2 stresses the function of memory in his art.  Love tidings are words from old books.  Books are still the activator of new poems, even though &quot;auctorite&quot; may be enriched by &quot;experimentum.&quot;  The poet&#039;s task is to translate words into images, which must then be transmuted into a new poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265599">
    <dcterms:title><![CDATA[The Art of Naming: A Study of Fictional Names as an Element of Style in Chaucer, Spenser, and Shakespeare]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the names of selected characters, including the names of Chaucer&#039;s CT pilgrims and some of the characters in the tales. Compared with Spenser&#039;s and Shakespeare&#039;s names, &quot;Chaucer&#039;s fictional names are rather limited in kind and number,&quot; although they are often ironic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263796">
    <dcterms:title><![CDATA[The Art of Restatement in the &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Treats BD as an elegy, examining figures of speech.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271438">
    <dcterms:title><![CDATA[The Art of Swooning in Middle English]]></dcterms:title>
    <dcterms:description><![CDATA[Swooning in medieval literature points to a marked cultural contrast between medieval sensibilities and modern ones for which swooning is extreme and exceptional.  This broad survey defines swooning as a &quot;loss of consciousness, brought on by physiological and psychological factors,&quot; examines its representation, body language, and many functions, and analyzes the swoons in Chaucer&#039;s works in the larger context of the survey in KnT, MilT, MLT, WBP, ClT, SqT, FranT, PrT, PhyT, Anel, BD, LGW, TC, Mars, and Pity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261732">
    <dcterms:title><![CDATA[The Art of Telling and the Prudence of Interpreting the &#039;Tale of Melibee&#039; and Its Context]]></dcterms:title>
    <dcterms:description><![CDATA[Mel suggests that interpretative perspective is crucial to meaning.  Like the rest of fallen nature, language is indeterminate, so prudence is required to make sense of contingent existence. Apparent contradictions in Mel disappear if we understand that the process of seeking good counsel is flexible.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271786">
    <dcterms:title><![CDATA[The Art of the Bridwell Library Kelmscott Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Southern Methodist University Bridwell Library&#039;s 1896 William Morris paper copy of the Kelmscott Chaucer. Includes details about letters, manuscript notes, drafts of illustrations and borders by Edward Burne-Jones, photographs, and other items associated with the provenance. Of special interest is Morris&#039;s inscription to Burne-Jones.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274354">
    <dcterms:title><![CDATA[The Art of the Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the aesthetic and moral principles and practices, overt and covert, of the CT, acclaiming the vitality of the &quot;framing structure&quot; of the links and the complex ironies of the narrator (especially in Ret) for the ways that they enable and underscore the encyclopedic multiform variety of the individual Tales that &quot;collectively&quot; comprise a &quot;broad examination of the worlds of social, moral, and religious experiences.&quot; Argues that the unifying theme of the poem is a &quot;serious statement&quot; about the &quot;range of human experience within the compass of pilgrimage,&quot; interpreting fifteen of the Tales for the ways that their literary variety reflects the &quot;modes of experience underlying them&quot; discussed here as &quot;religio-romantic&quot; or &quot;comic&quot; representations of relations between the human self and deity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261909">
    <dcterms:title><![CDATA[The Art of the Descending Catalogue, and a Fresh Look at Alisoun]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s catalogues of feminine delights seem totally original, but upon closer scrutiny they reveal techniques employed by many other poets both serious and humorous.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276284">
    <dcterms:title><![CDATA[The Art of Translating Dante.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys and comments on English poetic translations of Dante&#039;s &quot;Commedia&quot; from Chaucer to Laurence Binyon, opening with mention of the Ugolino episode from MkT (based on &quot;Inferno&quot; XXXIII 1-90), followed by quotation of SNP 8.36-56, calling it a &quot;rendering of great beauty&quot; of &quot;Paradiso&quot; XXXIII, 1-2, and observing Chaucer&#039;s alterations of the original.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276292">
    <dcterms:title><![CDATA[The Art of Translating Dante.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys and comments on English poetic translations of Dante&#039;s &quot;Commedia&quot; from Chaucer to Laurence Binyon, opening with mention of the Ugolino episode from MkT (based on &quot;Inferno&quot; XXXIII 1-90), followed by quotation of SNP 8.36-56, calling it a &quot;rendering of great beauty&quot; of &quot;Paradiso&quot; XXXIII, 1-2, and observing Chaucer&#039;s alterations of the original.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263812">
    <dcterms:title><![CDATA[The Art of Translation in &#039;The Romaunt of the Rose&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[As a translation of &quot;Roman de la Rose,&quot; Chaucer&#039;s Rom is remarkably faithful; nevertheless, Chaucer did make changes to create greater &quot;ease&quot; and intimacy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265153">
    <dcterms:title><![CDATA[The Art of Variation in Chaucer&#039;s &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s chief object in LGW is to explore, through the art of &quot;variatio,&quot; irrational sexual passion as a source of human misery.  The legends divide into three distinct groups:  the pathetic tale, Dido and its variations, and star-crossed lovers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273468">
    <dcterms:title><![CDATA[The Art of Vision: Ekphrasis in Medieval Literature and Culture.]]></dcterms:title>
    <dcterms:description><![CDATA[Collection of essays on ekphrastic discourse from the eleventh to the seventeenth century in texts written in Middle English, but also Medieval Latin, Old French, Middle Scots, Middle High German, and Early Modern English. For four essays that pertain to Chaucer, search for Art of Vision: Ekphrasis in Medieval Literature and Culture under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274151">
    <dcterms:title><![CDATA[The Art of X-Ray Reading: How the Secrets of 25 Great Works of Literature Will Improve Your Writing.]]></dcterms:title>
    <dcterms:description><![CDATA[Reflects on how GP yields patterns for writers to emulate, since the first line concerns the cycle of nature, patterns of order and hierarchy, and the theme of regeneration, in a syntactically complicated periodic sentence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264819">
    <dcterms:title><![CDATA[The Artifice of Temporality: A Study of Unfinishedness in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[The signs of unfinishedness which appear most prominently in Chaucer&#039;s unfinished pieces are also present in the more finished pieces, where they make a major contribution to Chaucer&#039;s meaning.  Chaucer&#039;s unfinishedness is due in part to the uses he found for incomplete or non-definitive statement and due in part to the aesthetic tradition he inherited.  ]]></dcterms:description>
    <dcterms:description><![CDATA[The richness of vision and the multiplicity of meaning which characterize his work are due in large part to the philosophical unfinishedness of his art.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265255">
    <dcterms:title><![CDATA[The Artificial Memory, Chaucer, and Modern Scholars]]></dcterms:title>
    <dcterms:description><![CDATA[Encourages study of the classical-medieval theory and practice of artificial memory, i.e., memory training that depends on associating ideas with familiar places, whether real or imagined.  Comments on the important work of Frances Yates and critiques more recent work, especially that of Mary Carruthers.  Connects Chaucer&#039;s concern with memory in HF with a Latin text attributed to Bishop Bradwardine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264519">
    <dcterms:title><![CDATA[The Artistic and Interpretive Context of Blake&#039;s &#039;Canterbury Pilgrims&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In his paintings of the Canterbury pilgrims, Blake shows the influence of previous illustrations for and commentary upon CT, but goes beyond the artistic and textual tradition to set the group of pilgrims in his own Blakean cosmos, pairing characters against each other as opposites--e.g., Parson and Pardoner--to produce both visual and spiritual symmetry in a complex system of binary relationship.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272160">
    <dcterms:title><![CDATA[The Artistic Integrity of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the &quot;psychological realism&quot; and &quot;moral allegory&quot; in TC as complementary, analyzing the imagery and themes of ancient gods, the moon, and mutability, associated with Criseyde. Images of hell and torment in the final two books, differing from those of paradisiacal joy in Book 3, reinforce the concern with change and pave the way for the poem&#039;s shifts in tone and character.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265951">
    <dcterms:title><![CDATA[The Artists&#039; Ideal Griselda]]></dcterms:title>
    <dcterms:description><![CDATA[Iconographic imagery in ClT indicates Griselda&#039;s exemplary physical, moral, and spiritual beauty.]]></dcterms:description>
    <dcterms:description><![CDATA[  British paintings, from 1721 onward, have created various Griseldas--betrayed, patient, virginal, and sexually victimized.]]></dcterms:description>
    <dcterms:description><![CDATA[Sculptors have idealized her beyond recognition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269653">
    <dcterms:title><![CDATA[The Ascending Soul and the Virtue of Hope: The Spiritual Temper of Chaucer&#039;s Boece and Retracciouns]]></dcterms:title>
    <dcterms:description><![CDATA[Johnson examines Chaucer&#039;s attitudes about and representations of the &quot;workings of the soul in stirring itself towards God,&quot; comparing Bo to its Boethian original in light of late fourteenth-century pastoral instruction and tracing similar sentiments in Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265976">
    <dcterms:title><![CDATA[The Assassination of the &#039;Litel Clergeon&#039;: A Post-colonial Reading of the Prioress&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Asserting the impossibility of a neutral approach and citing her Jewish ancestry, Paley considers PrT in its historical context.]]></dcterms:description>
    <dcterms:description><![CDATA[  Chaucer&#039;s uncharacteristic omission of a tale to balance the Prioress&#039;s--i.e., his omission of a Jewish tale--is a disservice to the reader.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275392">
    <dcterms:title><![CDATA[The Astonishing Performance of Chaucer&#039;s Pardoner.]]></dcterms:title>
    <dcterms:description><![CDATA[Rejects the &quot;drunkenness hypothesis&quot; as a way of explaining the Pardoner&#039;s character, arguing that pride and &quot;counterfeit humility&quot; underlie the characterization and that the &quot;[s]uspicion, aversion, and contempt&quot; of the pilgrim audience toward him provoke his vain &quot;stance of flattery and accommodation&quot; toward them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272345">
    <dcterms:title><![CDATA[The Astrolabe]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the construction and functions of the astrolabe, an instrument &quot;used for both astronomical and terrestrial observations,&quot; and an &quot;analogue computer&quot; for &quot;determining the local time.&quot;  Surveys historical descriptions of the construction of the instrument, with a summary of Chaucer&#039;s Astr as the &quot;only good early treatise&quot; on the subject in English. Includes color and b&amp;w photographs and illustrations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276813">
    <dcterms:title><![CDATA[The Astrological Background of the &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explains the exegetical tradition of associating Noah with astrological prediction of the Flood and suggests that in MilT &quot;Hende Nicolas has built his entire scheme&quot; to dupe John &quot;around the astrological tradition of the Flood,&quot; thereby lending comic depth to the characterization of John as proudly anti-intellectual rather than merely stupid.]]></dcterms:description>
</rdf:Description></rdf:RDF>