<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/262000">
    <dcterms:title><![CDATA[The Center of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[To emphasize the theme of Troilus&#039; misconception of the nature of love and to make his poem reflect the stages of &quot;gradus amoris,&quot; Chaucer placed the consummation scene at the numerical center of the &quot;beta&quot; version of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277656">
    <dcterms:title><![CDATA[The Center of the Parlement of Foules.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads PF as Chaucer&#039;s &quot;most voluptuous poem,&quot; a love poem with the Garden of Love as its unifying center where Nature and Priapus serve as its &quot;presiding deities.&quot; Comments on the poem&#039;s range of attitudes toward love and its source materials.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275283">
    <dcterms:title><![CDATA[The Central Episode in Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Rejects claims that Criseyde expected to surrender herself to Troilus when she went to Pandarus&#039;s house in Book 3 of TC. Examines questions of plot, detail, and emphasis, and argues that her actions were neither fated nor dependent upon prior decision, that Pandarus&#039;s machinations capitalized on the change in weather, and that Troilus merited her love. Considers the episode in light of courtly love and briefly contrasts aspects of Chaucer&#039;s story with those of Boccaccio&#039;s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265284">
    <dcterms:title><![CDATA[The Centrality of the Peripheral: Illuminating Borders and the Topography of Space in Medieval Narrative and Art, 1066-1400]]></dcterms:title>
    <dcterms:description><![CDATA[Explores &quot;narrative space&quot; as represented in the Bayeux Tapestry, a world map of 1300, two French romances, Dante&#039;s &quot;Commedia,&quot; and CT to show that the modern anxiety generated by them can be dispelled by understanding built-in signs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265264">
    <dcterms:title><![CDATA[The Centre and Its Compass: Studies in Medieval Literature in Honor of Professor John Leyerle]]></dcterms:title>
    <dcterms:description><![CDATA[For five essays that pertain to Chaucer, search for Centre and Its Compass under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265138">
    <dcterms:title><![CDATA[The Ceyx and Alceone Story in &#039;The Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The dreamer&#039;s experience in BD is an amplification of the Ceyx and Alceone story.  The Black Knight and the dreamer may be seen as the same person, the dream providing a means of facing the fact of death.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266099">
    <dcterms:title><![CDATA[The Challenge of Periodization: Old Paradigms and New Perspectives]]></dcterms:title>
    <dcterms:description><![CDATA[Thirteen essays originally presented as lectures at the Center for Literary Studies at the Hebrew University of Jerusalem between September 1991 and January 1993.  Each essay re-examines the relation of a major author, genre, or theme to traditional understanding of literary periods, challenging such labels as &quot;medieval,&quot; &quot;Renaissance,&quot; and &quot;modern.&quot;  The collection includes a reprint (pp. 29-49) of Larry D. Benson &quot;The Beginning of Chaucer&#039;s English Style&quot;  (SAC 19 [1997], no. 60.).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262902">
    <dcterms:title><![CDATA[The Challenge of the Medieval Text: Studies in Genre and Interpretation]]></dcterms:title>
    <dcterms:description><![CDATA[Fifteen essays by Jackson on classical and medieval subjects, focusing on courtly love, lyric, epic and drama, allegory and romance and covering literary works from Continental Europe. Edited by Joan M. Ferrante and Robert W. Hanning.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270224">
    <dcterms:title><![CDATA[The Chamber, the Man in Black, and the Structure of Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In its evocations of a &quot;locus amoenus,&quot; &quot;fin&#039; amors,&quot; and Aeneas, the dream chamber in BD serves as a &quot;structural analogue&quot; to the Man in Black&#039;s autobiography, which narrates an idyllic youth, describes falling in love, and refers to the duties of leadership. In turn, this analogue puts Chaucer&#039;s early poetic &quot;craft&quot; on display as &quot;an investigation into the relationship between art and life.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277250">
    <dcterms:title><![CDATA[The Change in Chaucerian Aesthetics: From The &quot;Tale of Sir Thopas&quot; to &quot;The Tale of Melibee.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the shift from exaggerated romance to philosophical discourse between Th and Mel, the voicing of these tales by Chaucer as narrator, and the responses of the pilgrims to the two tales, indicate a general shift of &quot;literary aesthetics&quot; and, in terms derived from Stephen Greenblatt, &quot;can be regarded as a reflection of Chaucer the poet&#039;s literary self-fashioning.&quot; Includes an abstract in Turkish and English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276389">
    <dcterms:title><![CDATA[The Changing English Language, Illustrated by Translations of the Bible, and Changing Literary Style, Illustrated by the Arthurian Legend: Readings in Old, Middle, and Modern English.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes various readings by Dunn that illustrate changes in the English language and English literary style, among them, a reading of Book III.m9 of Bo (Side 1, band 9; 41 sec.). Text from F. N. Robinson&#039;s edition of Chaucer complete works (1957).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262862">
    <dcterms:title><![CDATA[The Changing Face of Arthurian Romance: Essays on Arthurian Prose Romances in Memory of Cedric E. Pickford]]></dcterms:title>
    <dcterms:description><![CDATA[These essays, which relate to the development of Arthurian prose romance from the early thirteenth century to the end of the medieval period, are arranged chronologically and grouped by theme or text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276285">
    <dcterms:title><![CDATA[The Changing Outlook of Chaucerian England.]]></dcterms:title>
    <dcterms:description><![CDATA[Historical analysis of the changes in the English world view preceding and following the Black Death of 1349, with particular attention to the art and literature up to 1385 and its &quot;pessimism and macabre realism.&quot; Includes recurrent references to Chaucer, highlighting his concerns with death (PardT), fortune (TC), ecclesiastical satire, and the ambiguities of social class.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264007">
    <dcterms:title><![CDATA[The Character and Meaning of Chaucer&#039;s Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the character and meaning of Pardoner in relation to a submerged irony expressed in his bodily or spiritual realism.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274510">
    <dcterms:title><![CDATA[The Character of Chaucer&#039;s Merchant,]]></dcterms:title>
    <dcterms:description><![CDATA[Absolves the Merchant of the illegal practices, usurious dealings, and insolvency previously inferred by critics, providing historical information and examples that indicate that the GP description portrays a skilled practitioner who &quot;gives a public appearance of great financial solidity&quot; based on &quot;complex transactions&quot; of credit. Clarifies &quot;in eschaunge sheeldes selle&quot; (GP 1.278), &quot;chevyssaunce&quot; (GP 1.282), and the syntax and emphases of 1.280-82.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264127">
    <dcterms:title><![CDATA[The Character of King Arthur in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Reconstructs the &quot;biography of Arthur&quot; from major legends, chronicles, and romances.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263824">
    <dcterms:title><![CDATA[The Character of the Narrator in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the narrator of Boccaccio&#039;s &quot;Il Filostrato&quot; with the narrator of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264048">
    <dcterms:title><![CDATA[The Character of the Narrator in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The narrator in TC ridicules and condemns courtly love.  The difference between TC and &quot;Il Filostrato&quot; is that Chaucer&#039;s narrator is unmasked at the end and earthly love must be rejected in favor of love of Christ whereas in IF the young narrator (Boccaccio himself) remains an advocate of the religion of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264924">
    <dcterms:title><![CDATA[The Characterization of Troilus and Criseyde through adjectives: &#039;trewe as stiel&#039; and &#039;slydynge of corage&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[A discussion of the characterizations of Troilus and Criseyde by investigating the meanings of adjectives attached to each noun illustrating their natures.  Troilus, who languishes for love, is represented as a strong, faithful, idealistic knight and courtier; Criseyde is a beautiful and charming lady, who shows her subtle and delicate feeling with a suggestion of something fragile to touch.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261977">
    <dcterms:title><![CDATA[The Chaste Sir Thopas]]></dcterms:title>
    <dcterms:description><![CDATA[George Williams is wrong to claim homosexual implication for Th, in the light of a re-examination of the knight himself, the forest through which he rode, and Chuacer&#039;s use of &quot;prike&quot; in the tale.  To find sexual connotations in the tale is to read too much into it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262328">
    <dcterms:title><![CDATA[The Chaucer Canon: Methodological Assumptions]]></dcterms:title>
    <dcterms:description><![CDATA[Closer attention to external and internal evidence should make scholars more cautious about accepting as canonical such passages as NPE, BD 31-96, Ret, and the lists of Chaucerian works in MLT and LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267045">
    <dcterms:title><![CDATA[The Chaucer Chest and the Pardoner&#039;s Tale : Didacticism in Narrative Art]]></dcterms:title>
    <dcterms:description><![CDATA[Did Chaucer commission the chest in the London Museum with scenes from PardT? The poet could have supervised its adherence to the literary source and added the hunting fox as a symbol for the Pardoner. He might have chosen the cheaper elm rather than a more expensive wood, and he would have appreciated the irony of keeping coins in a box that expressly condemned cupidity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277567">
    <dcterms:title><![CDATA[The Chaucer Codex: A Literary Mystery.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that &quot;No libraries with WorldCat.org subscription hold this item.&quot; Publisher&#039;s website reports that this is a detective mystery in which a young medievalist pursues a mysterious manuscript that may contain an unknown poem by Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273391">
    <dcterms:title><![CDATA[The Chaucer Collection of Robert R. Raymo.]]></dcterms:title>
    <dcterms:description><![CDATA[Catalogues the Chaucer collection of Raymo and Glazer-Raymo, which includes editions of the complete works of Chaucer, critical and literary histories, recordings of readings, and collections of Chaucer ephemera.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268470">
    <dcterms:title><![CDATA[The Chaucer Foundation: Composition, Social History, and The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Describes a freshman writing course that focuses on late-medieval social history, structured by means of GP and eight of the tales in CT. Includes a complete syllabus, writing exercise, and supplemental information.]]></dcterms:description>
</rdf:Description></rdf:RDF>