<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/266908">
    <dcterms:title><![CDATA[The Clerk&#039;s Tale: Hagiography and the Problematics of Lay Sanctity]]></dcterms:title>
    <dcterms:description><![CDATA[The concept of piety was complex and problematic during the Middle Ages, and Chaucer&#039;s refusal to align himself with one side or the other in ClT is distressing. Griselda is neither a paradigm for lay sanctity nor an ironic or satiric character.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271249">
    <dcterms:title><![CDATA[The Clerk&#039;s Tale: Poems]]></dcterms:title>
    <dcterms:description><![CDATA[In her &quot;Foreward&quot; to this collection of Reece&#039;s poems (ix-xiii), Louise Glück comments on the theme of virtue in ClT as a &quot;problem&quot; for modern readers, &quot;possibly because virtue unconvincingly disarms brutality.&quot; She also observes that Reece&#039;s book is not retelling of ClT, but that it does echo its concerns.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275072">
    <dcterms:title><![CDATA[The Clerk&#039;s Tale: Rewritten Griselda Story.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on how ClT differs from its two sources, Petrarch&#039;s &quot;Historia Griseldis&quot; and its anonymous French translation &quot;Le livre Griseldis,&quot; and argues that Chaucer adds his original expression of the characters&#039; emotion so as to encourage the audience to feel pity for Griselda.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276966">
    <dcterms:title><![CDATA[The Clerk&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[A murder mystery, set in Oxford, in which Geoffrey Chaucer investigates homicide amidst town–gown tensions, rivalries in the colleges, debates, Lollards, and astrolabes. Features historical and fictional characters, including Ralph Strode and a shipman whose boat is named the &quot;Madeleine.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271037">
    <dcterms:title><![CDATA[The Clerkenwell Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Historical novel set in medieval London, comprised of interlinked stories about various characters who are modeled on Chaucer&#039;s Canterbury pilgrims.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262921">
    <dcterms:title><![CDATA[The Clerkly Maker: Langland&#039;s Poetic Art]]></dcterms:title>
    <dcterms:description><![CDATA[Schmidt considers Langland&#039;s &quot;attitude to the moral and artistic demands of his poem,&quot; his versecraft, his use of medieval Latin quotations and works on the art of poetry, and his diction, puns, and rhetorical art.  Contains brief references to Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272539">
    <dcterms:title><![CDATA[The Climax in the &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that we do not know whether or not Damian completed the act of copulation in the pear tree of MerT, impregnating May, despite Emerson Brown&#039;s claims that he did neither. More important are the facts that January has been cuckolded and that he thinks May pregnant.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276630">
    <dcterms:title><![CDATA[The Cloak of Romance: Love and Death in &quot;The Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores nuances of Boethian Providence, fortune, destiny, and human perceptions of them in KnT, along with relations between death and love in their worldly and spiritual manifestations. Argues that in KnT Chaucer burlesques the &quot;romantic sensibility&quot; that ignores &quot;the natural reality over which death--at once the end of Fortune&#039;s caprice and the end of Providence&#039;s plan for man&#039;s communion with a loving God--presides.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267113">
    <dcterms:title><![CDATA[The Closed World?: Finding the Innumerable in Medieval Encyclopedism]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval encyclopedism, although typically treated as a manifestation of &quot;closed-systems&quot; thinking, has many dimensions that suggest a wider, unresolved view of the universe. Chaucer&#039;s works, with other encyclopedic texts, offer examples of open thinking, such as interest in the irrational, the unforeseen, and the uncertain. Includes comments on PF, HF, and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270891">
    <dcterms:title><![CDATA[The Cobbler of Canterbury and Robert Greene]]></dcterms:title>
    <dcterms:description><![CDATA[Given the numerous verbal parallels between Greene&#039;s work and &quot;The Cobbler of Canterbury&quot; (an avowed imitation of CT, published anonymously in 1590), it would seem that Greene &quot;fibbed&quot; when, in a separate publication, he &quot;informed the spirits of Geffrey Chaucer and John Gower&quot; that he was not the author of &quot;The Cobbler of Canturbury.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265249">
    <dcterms:title><![CDATA[The Cock and the Clock: Telling Time in Chaucer&#039;s Day]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s works and the works of almanac writers John Somer and Nicholas of Lynn reflect the contemporary tendency to rely on &quot;clock time&quot; rather than earlier forms of computing time.  Mooney surveys a variety of ways of telling time, discussing complications that result from questions about when the day begins, time zones, and lengths of hours.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277336">
    <dcterms:title><![CDATA[The Cock and the Fox: Chaucer&#039;s Nun&#039;s Priest&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268300">
    <dcterms:title><![CDATA[The Cock, the Priest, and the Poet]]></dcterms:title>
    <dcterms:description><![CDATA[In NPT, the Nuns&#039; Priest (Nonnes is plural) confesses his own temptations of lust and pride, under the guise of Chauntecleer. The priest is another persona of Chaucer the poet, interested in the same topics (dreams, astronomy, free will, the biter bit) and apprehensive about the effects of rhetoric.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272779">
    <dcterms:title><![CDATA[The Code of Chaucer&#039;s &#039;Secree of Secrees&#039;: Arabic Alchemical Terminology in &#039;The Canon&#039;s Yeoman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies the allegorical traditions that underlie the mysteriousness of alchemy in Arabic and Latin writings, focusing on the sources, nomenclature, and descriptions mentioned at the end of CYT (8.1428-65) especially the comments on mercury, sulphur, the difficulties of &quot;multiplication,&quot; and the need for secrecy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273146">
    <dcterms:title><![CDATA[The Coherence of Creation in the Word: The Rhetoric of Lines 1-34 of Chaucer&#039;s &#039;General Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the rhetorical structure, themes, and wordplay of the first thirty-four lines of GP, arguing that in CT Chaucer maintains &quot;his commitment to the coherence of creation within the narrative framework of Christianity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264828">
    <dcterms:title><![CDATA[The Collation of the Cardigan Chaucer Manuscript]]></dcterms:title>
    <dcterms:description><![CDATA[The explanation for the condition of quire 10 in CT is that the leaves became disarranged after the scribe had completed the first half.  The order that resulted from his error was ii-iii-i-iv-v-vi.  After this faulty order was corrected, the order of the second half became vii-viii-ix-xi-xii-x.  In order to correct this problem and facilitate binding, another scribe recopied x onto a folio with a stub.  This stub now appears between iii and iv.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268228">
    <dcterms:title><![CDATA[The Collational Formula of Caxton&#039;s Second Edition of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Bordalejo corrects the bibliographic description of Caxton&#039;s second edition of The Canterbury Tales (Cx2), held at St. John&#039;s College Library, Oxford.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274500">
    <dcterms:title><![CDATA[The College Anthology of British and American Verse.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes Ros, Wom Unc, and Purse in Middle English with glosses and notes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271235">
    <dcterms:title><![CDATA[The Colony Writes Back: F. N. Robinson&#039;s &#039;Complete Works of Geoffrey Chaucer&#039; and the &#039;Translatio&#039; of Chaucer Studies to the United States]]></dcterms:title>
    <dcterms:description><![CDATA[Uses a postcolonial approach to examine the publication and reception of Robinson&#039;s edition of Chaucer&#039;s works (1933) in its historical context, particularly the rise of scholarly productivity in the United States and attitudes toward England and Germany between World War I and World War II.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273932">
    <dcterms:title><![CDATA[The Color of Money: The BBC &quot;Sea Captain&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Coins the term &quot;updaptation&quot; to describe adaptations that shift temporalities from past to present, using the term to explore relations between ShT and the BBC television version, the &quot;Sea Captain&#039;s Tale.&quot; Focuses on the episode&#039;s use of film noir techniques, the color blue, its setting in India, Sanskrit analogues, and &quot;cultural mimicry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273892">
    <dcterms:title><![CDATA[The Colors of Rhetoric in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses prior critical treatments of Chaucer&#039;s uses of rhetoric and traces a pattern of development from his use of the &quot;conventional methods of expansion and embellishment&quot; of the medieval rhetoricians, through &quot;increasing independence&quot; to &quot;consummate skill.&quot; Chaucer&#039;s comments on rhetoric in CT are &quot;directed not against medieval rhetoric, but against its misuse.&quot; This dissertation was completed in 1932.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267313">
    <dcterms:title><![CDATA[The Comedy of the Monk&#039;s Tale : Chaucer&#039;s Hugelyn and Early Commentary on Dante&#039;s Ugolino]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval commentaries on the &quot;Commedia&quot; (Divine Comedy) inform our understanding of how Chaucer read Dante. In the Hugolino episode of MkT, with its reference to Dante, Chaucer simultaneously authorizes &quot;Inferno&quot; 33 and destabilizes it, exemplifying how glossing operates in literary tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272851">
    <dcterms:title><![CDATA[The Comic Climax in the Old French and Chaucerian Fabliaux]]></dcterms:title>
    <dcterms:description><![CDATA[Considers plot and narrative voice for the ways that they set up comic climax in representative French fabliaux and in the six fabliaux of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277614">
    <dcterms:title><![CDATA[The Comic Dimension: A New Reading of William Carlos Williams&#039; Long Poem &quot;Paterson.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores aspects of Williams&#039; development of his poetic identity, including the importance of Chaucer as a model, emphasizing the modern poet&#039;s knowledge of Chaucer and Chaucer criticism and his emulation in &quot;Paterson&quot; of Chaucer&#039;s comic techniques.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263818">
    <dcterms:title><![CDATA[The Comic Function of the Narrator in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the narrator&#039;s function in the comedy of TC.]]></dcterms:description>
</rdf:Description></rdf:RDF>