<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/261406">
    <dcterms:title><![CDATA[&#039;As Thynketh Yow&#039;: Conflicting Evidence and the Interpretation of The Franklin&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[No single answer to the concluding question of FranT is satisfactory because the tale&#039;s real concern is the interpretive process itself.  FranT emphasizes different kinds of &quot;trouthe&quot; and poses ambiguous promises and statements.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266614">
    <dcterms:title><![CDATA[&#039;As Writ Myn Auctour Called Lollius&#039;: Divine and Authorial Omnipotence in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the critical history of &quot;Lollius&quot;--Chaucer&#039;s putative source for TC--and argues that the invention poses a poetic analogy to the absolute power of the nominalist God.  By creating Lollius, Chaucer makes his general audience believe in the intuitive cognition of a non-existent power.  Informed readers such as Gower and Strode recognized the invention as a parodic indicator of poetic self-consciousness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264846">
    <dcterms:title><![CDATA[&#039;Astromye&#039; in &#039;The Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Twice the carpenter in MilT uses &quot;astromye&quot;:  is it a malapropism, an acceptable variant, or a scribal error?  Since according to Manly-Rickert all mss of CT record &quot;astromye,&quot; the last of these is not tenable.  And since the word thus misused does not take on the form of another word,it cannot be a malapropism, though the evidence we have for these matters come 200 years after Chaucer wrote.  It must therefore be considered an allowable variant without any connotation of barbarism or illiteracy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264393">
    <dcterms:title><![CDATA[&#039;Astromye&#039; in the Miller&#039;s Tale Again]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Astromye&quot; is neither a scribal error nor an acceptable variant for &quot;astronomye&quot; but a malapropism that probably appeared originally as &quot;arstromye,&quot; containing a pun in the first syllable.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270603">
    <dcterms:title><![CDATA[&#039;At the Resureccioun of this Flour&#039;: The Resurrection, Ambiguity and Identity in Chaucer&#039;s Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[In BD, CT (especially the opening of GP and ParsT), and LGWP, flower imagery evokes the &quot;muted presence&quot; of the &quot;motif of resurrection,&quot; which Chaucer presents in a characteristic &quot;collocation of Christian theology and authorial self-reflexivity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266115">
    <dcterms:title><![CDATA[&#039;At the Stremes Hed of Grace&#039;: Representations of Prince and Poet in Late Medieval English Court Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Before Richard II&#039;s deposition, Chaucer affected an apolitical stance, while Gower became pro-Lancastrain.  Poetic self-representation later gave way to politicized views in the works of Hoccleve, Scogan, and Lydgate.  The dissertation also treats Margery Kempe, James I of Scotland, and George Ashby.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263130">
    <dcterms:title><![CDATA[&#039;Auctorite&#039; and &#039;Experience&#039; in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the theme of authority versus experience through BD, HF, TC, LGW, WBP, ParsT, and Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263820">
    <dcterms:title><![CDATA[&#039;Auctoritee&#039; and Allusion in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, especially bks. 2 and 4, Chaucer selected and reconstituted details from Dante and the classics for ironic purposes, treating sources as &quot;history.&quot;  Appendix:  Petrarch&#039;s annotations to &quot;Aeneid.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265017">
    <dcterms:title><![CDATA[&#039;Auctoritee&#039; and the Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The workings of &quot;auctoritee&quot; in KnT are at odds with established--especially Boethian--norms.  All authority in KnT is overthrown.  Habitually in Chaucer&#039;s works, authority is subjected to uncongenial contexts and the presumption of irony.  As a model for what follows, KnT does not assert the timeless, formal nature of good, but its ambiguities and contradictions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262212">
    <dcterms:title><![CDATA[&#039;Auctours&#039; and &#039;Rehercers&#039;: Chaucer, Wyclif, and the Language of Authority]]></dcterms:title>
    <dcterms:description><![CDATA[Wyclif believed in the absolute authority of Scripture, with the mission of the Church as simple transmission without modification.  In SumT, CYT, NPT, and ParsT, Chaucer questions the possibility of rehearsing truth inasmuch as the speakers distort it by making their own.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262468">
    <dcterms:title><![CDATA[&#039;Aventure&#039; or &#039;Grace&#039;: Lucky in Love in the &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[FranT is comedic in structure from first to last since all the events are equally lucky for all the characters by the end of the tale.  Noble gestures are made, even by the magician,but neither harm nor disadvantage results for any of those who make them, for no sacrifices are ever exacted.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266133">
    <dcterms:title><![CDATA[&#039;Awak: Chaucer Translates Bird Songs]]></dcterms:title>
    <dcterms:description><![CDATA[Briefly sketches a medieval philosophy of animal language in relation to medieval notions of translation as a communal ideal.  In ClT, Chaucer presents translation as a form of revelation; in SumT, it is transgressive; in KnT, a kind of disguise.  In ManT, translation is replaced by silence to indicate that incomprehensibility is a moral rather than a linguistic phenomenon.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267279">
    <dcterms:title><![CDATA[&#039;Axeth of Olde Pathes&#039; : Translation, Transmission and Transformation in Chaucer&#039;s &#039;Parson&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Based on two Latin penitential manuals, ParT is shaped to conclude CT with both additions and deletions. Less strictly hierarchical than its major sources, the Tale emphasizes the individual&#039;s relationship to God and human society.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263791">
    <dcterms:title><![CDATA[&#039;Be Processe of Tyme&#039;: Chaucer&#039;s Invention of Poetry in the &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[BD can be read not as a discontinuous apprentice work but as &quot;a myth of the invention of poetry,&quot; with its stories and images yet to be molded into psychological and thematic cohesion.  Imagination precedes signification.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265564">
    <dcterms:title><![CDATA[&#039;Be War, Ye Wemen&#039;: Problems of Genre and the Gendered Audience in Chaucer and Henryson]]></dcterms:title>
    <dcterms:description><![CDATA[When linked to issues of genre, the manner of constructing a female audience in FranT, LGW and Henryson&#039;s &quot;Testament&quot; may destabilize narrative closures and thereby offer moral intruction to women.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261766">
    <dcterms:title><![CDATA[&#039;Bear the Bell&#039; in Dafydd ap Gwilym, and &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Bear the bell&quot; (TC 3.198) is best explained through a Welsh phrase in Dafydd ap Gwilym referring to falconry.  Falcons wore bells, and the phrase meant &quot;to be pre-eminent.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269983">
    <dcterms:title><![CDATA[&#039;Beautiful as Troilus&#039;: Richard II, Chaucer&#039;s Troilus, and Figures of (Un)Masculinity]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s &quot;portrayal of Troilus as a soliloquizing, swooning  lover . . . reads like a fulsome apologia&quot; for Richard II. TC reflects Richard&#039;s relationship with Robert De Vere and reveals his &quot;sexless marriage&quot; with Anne. SNT and LGW defend sexless marriage, whereas Absolon of MilT is Chaucer&#039;s exposé of &quot;the comic pretenses of failed masculinity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266736">
    <dcterms:title><![CDATA[&#039;Betwixen Hevene and Erthe and See&#039;: Seeing Words in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[HF is a response to the &quot;creative anxiety inherent in seeking to continue a literary inheritance believed to have already reached its highest peaks of achievement.&quot;  In his presentation of a desert landscape, Chaucer partially resists Continental models and indicates that English is outside the &quot;impermeable&quot; system of European language and culture.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268716">
    <dcterms:title><![CDATA[&#039;Betwixen hope and drede&#039;: Predestination and Suspense in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Explores crossing patterns of suspense in TC: the &quot;maximal audience suspense and minimal participants&#039; suspense&quot; of the early books are reversed in Books 4 and 5. Attitudes toward predestination complicate the patterns.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270315">
    <dcterms:title><![CDATA[&#039;Bi Oon Assent: Some Chaucerian Assemblies]]></dcterms:title>
    <dcterms:description><![CDATA[Describes various kinds of &quot;parliament-poems&quot; in Middle English, focusing on PF as a model for others, and commenting on the depiction of the parliament scene in TC, Book 4, and its concern with &quot;voting by voices&quot; or assent. Summarizes Chaucer&#039;s biographical experiences with parliamentary proceedings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268059">
    <dcterms:title><![CDATA[&#039;Biheste is dette&#039;: Marriage Promises in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Nelson assesses medieval conceptions of marital &quot;debt&quot; (reflected in ParsT) in light of modern Speech Act Theory (Austin and Searle). The Wife of Bath&#039;s focus on the husband&#039;s contribution and the Merchant&#039;s focus on the wife&#039;s contribution reveal misunderstandings of the concept. Similarly distorted are Dorigen&#039;s obligation in FranT, Valerian&#039;s conditioned promise in SNT, and the extremes of promise and commitment in ClT. Much of CT is concerned with promise and obligation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262759">
    <dcterms:title><![CDATA[&#039;Bisynesse&#039; in Chaucer&#039;s &#039;Second Nun&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Looking at sources, Saito explores Chaucer&#039;s delicate use of &quot;bisynesse,&quot; arguing that the Second Nun faithfully translates and tells the legend of Saint Cecilia according to her own &quot;business.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268399">
    <dcterms:title><![CDATA[&#039;Bitraised Thorugh False Folk&#039;: Criseyde, the Siege, and the Threat of Treason]]></dcterms:title>
    <dcterms:description><![CDATA[The romance &quot;The Siege of Thebes&quot; being read by Criseyde at the beginning of the poem prepares us for her preoccupation with &quot;siege&quot; throughout the work. Pandarus persuades her to conceptualize Troilus as an antidote for the siege&#039;s danger, while Troy depends on the expense of the war effort. Traded to the Greeks, Criseyde becomes an outsider, joining the ranks of expatriates and exiles incessantly shifting around her.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261789">
    <dcterms:title><![CDATA[&#039;Bitwixen Game and Ernest&#039;: &#039;Troilus and Criseyde&#039; as a Post-Boccaccian Response to the &#039;Commedia&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the consummation scenes in Boccaccio&#039;s &quot;Filostrato&quot; and Chaucer&#039;s TC, focusing on Pandarus&#039;s role, and demonstrates how Boccaccio served as Chaucer&#039;s intermediary in a critical dialogue with Dantean assertions about language, love, and truth.  The narrative voice in TC reveals an ambivalence about the uses of poetry: Pandarus&#039;s capacity to assert meaning and to create romance is questioned by the Christian perspective of the palinode.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272756">
    <dcterms:title><![CDATA[&#039;Bo D&#039;: Line 47]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that &quot;oon&quot; in BD 47 follows a parallel reference in Jean Froissart&#039;s &quot;L&#039;Espinette Amoureuse.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>