<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/276104">
    <dcterms:title><![CDATA[The Construction of Space(s) and Identity(s) in Medieval Literature: Geoffrey Chaucer&#039;s &quot;The Canterbury Tales&quot; as a Case Study.]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses the engagement of medieval literature in the construction of European and Muslim identities in CT. Traces the origin and the politics behind the western construction of Muslims as &quot;God&#039;s enemies in the Middle Ages and how this representation is paradoxically demystified by a latent fascination with Islamic scientific achievements.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265359">
    <dcterms:title><![CDATA[The Consummation of &#039;Taillynge&#039; in Chaucer&#039;s &#039;The Shipman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines double-entendre in ShT, especially with words that relate to characters&#039; action.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264567">
    <dcterms:title><![CDATA[The Containment of Symkyn: The Function of Space in the &#039;Reeve&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The conception of the action of RvT in three dimensions is designed to provide more than narrative realism.  By reducing the miller&#039;s area of influence, Chaucer represents metaphorically his being cut down to size by the students.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274199">
    <dcterms:title><![CDATA[The Context and Meaning of &quot;Swete&quot;: The Case of Chaucer&#039;s &quot;Prioress&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the meaning of &quot;swete&quot; in PrT develops according to the protagonist&#039;s maturing process. In Japanese, with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261419">
    <dcterms:title><![CDATA[The Context of the Monk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Considers MkT complete as an experiment in a new literary form that Chaucer used to medievalize materials.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268198">
    <dcterms:title><![CDATA[The Contract of Love-Service: Lancelot and Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[Stokes compares the pledges of love-troth in the &quot;Prose Lancelot&quot; and TC, suggesting that they reflect a &quot;specific kind of romantic relationship,&quot; neither marital nor illicit nor clandestine, but &quot;solemn and binding&quot; and based on the man&#039;s service to the woman. The scene in Lancelot may be a source of the exchange of vows in TC 3.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265876">
    <dcterms:title><![CDATA[The Contradictions of Madame Eglantyne: Why She Would Become a Nun]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the GP sketch of the Prioress for evidence that she is poorly matched with her vocation, a mismatch especially evident in her attractiveness, coquetry, and &quot;zest for life.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[PrT shows &quot;more reference to praise than to love,&quot; indication that the Prioress&#039;s understanding of Christian values is simplistic.]]></dcterms:description>
    <dcterms:description><![CDATA[The article hypothesizes why such a woman may have entered a convent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273333">
    <dcterms:title><![CDATA[The Contrary Tales of the Second Nun and the Canon&#039;s Yeoman.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides point-by-point contrasting details and themes from SNT and CYT to argue that they were composed as a pair, wedded by a &quot;theory of contraries.&quot; Focuses on fire, sight, work, the theme of God&#039;s will, the language and imagery of alchemy, and the polarities of charity and cupidity and revelation and reason to demonstrate the unity of part 8 of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261990">
    <dcterms:title><![CDATA[The Convent Crowd and the Feminist Nun]]></dcterms:title>
    <dcterms:description><![CDATA[SNP and SNT express a feminist point of view not present in the original sources and analogues, but added by Chaucer in order to portray dramatically her character.  She is contrasted with the Prioress and the Nun&#039;s Priest.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264427">
    <dcterms:title><![CDATA[The Convention of the Old Man&#039;s Lament in the &#039;Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although the major sources of the Old Man figure have long been known, the existence of the figure in alliterative and lyric poetry shows how Chaucer transforms the tradition.  His Old Man is a trope for man&#039;s desire for transcendence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273125">
    <dcterms:title><![CDATA[The Cook]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews medieval cooks who could possibly have been models for Chaucer&#039;s Cook and suggests that Chaucer uses the  Cook to reflect the social and moral issues of estates literature.  Also, discusses the Cook&#039;s dislikes in CT and his connections with the Seven Deadly Sins, particularly gluttony.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268275">
    <dcterms:title><![CDATA[The Cook, the Miller, and Alimentary Hell]]></dcterms:title>
    <dcterms:description><![CDATA[Brosamer investigates hell-mouth imagery in PardT, MLT, and LGWP, drawing upon a number of sources, especially De miseria condicionis humane by Pope Innocent III. The corruption of sin has an alimentary dimension, from ingestion to defecation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261826">
    <dcterms:title><![CDATA[The Cook&#039;s &#039;Jakke of Dovere&#039;: CT A 4347-48]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;Jakke of Dovere&quot; that Chaucer&#039;s Host talks of is a fish known as Dover sole and is a specialty of Dover.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275111">
    <dcterms:title><![CDATA[The Cook&#039;s &quot;Mormal&quot;: Reading Disease, Doubt, and Deviance on the Body of Chaucer&#039;s Cook.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the Cook&#039;s ulcer as potential leprosy in an effort to show how such signs on the skin act as points of uncertainty that impact the relationships among the pilgrims.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277251">
    <dcterms:title><![CDATA[The Cooks of the Canterbury Tales: The Backstage of Bourgeois Social Drama.]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Victor Turner&#039;s idea of &quot;social drama&quot; and medieval notions of the status of food, cooks, and kitchen work to argue that, in GP, the Franklin&#039;s cook and the Cook of the Guildsmen effectively reflect and/or reinforce the social aspirations of their employers. Includes an abstract in Turkish and English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265746">
    <dcterms:title><![CDATA[The Copyist of the Ellesmere &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Paleographic analysis of the five manuscripts or fragments attributable to the Ellesmere scribe:  Ellesmere itself; the Hengwrt manuscript, except for &quot;a few lines&quot;; twenty-four folios of a copy of Gower&#039;s &quot;Confessio Amantis;&quot; a fragment of a leaf of TC; and a leaf from PrP and PrT.]]></dcterms:description>
    <dcterms:description><![CDATA[The attribution of the latter remains questionable.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264813">
    <dcterms:title><![CDATA[The Correction of a Descriptive Schema: Some &#039;Buts&#039; in Barbour and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[John Barbour in &quot;The Bruce&quot; (1375) depicts Sir James Douglas as conforming to the knightly ideal in character and manner,but not in physical appearance.  In Chaucer&#039;s TC, Criseyde occasionally departs from the pattern of idealized heroine. Through observing the complexity of individuals, Barbour and Chaucer develop a new criterion for criticizing and correcting prescribed descriptions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270531">
    <dcterms:title><![CDATA[The Cosmic Banana-Skin: The Pardoner v. His Tale]]></dcterms:title>
    <dcterms:description><![CDATA[PardP characterizes him as &quot;a mirror-image of all that is good,&quot; revealing his &quot;ghastly pride&quot; in his skills and his immorality. Ironically, PardT is a superb sermon, although its moral appears to be &quot;quite lost on his hearers&quot; (the pilgrim audience), and the Pardoner ultimately overreaches himself.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266478">
    <dcterms:title><![CDATA[The Counsel Group: Rhetorical and Political Contexts of Court Counsel in &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[As diplomat, MP, and associate of important political figures, Chaucer understood the operation of government and its rhetoric, reflected in Mel, MLT, ClT, KnT, and MerT.  Chaucer&#039;s themes of class and gender relate to the nature of counsel-taking.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269064">
    <dcterms:title><![CDATA[The Countervailing Aesthetic of Joy in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Hill argues that Troilus&#039;s pagan, earthly joy in the second half of Book 3 of TC is Chaucer&#039;s representation of &quot;the maximum of good and beauty to be found outside of Christian belief and the dispensations of faith.&quot; The intense joy experienced by the lovers is the apex of worldly sufficiency, temporarily safe from worldly threat and rendered powerful through Chaucer&#039;s indications of universality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265534">
    <dcterms:title><![CDATA[The Couple in Chaucer&#039;s Fabliaux]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys views on sex and marriage in Chaucer&#039;s works and argues that his fabliaux reflect human desires to escape from and to re-create the couple.  The brevity of the fabliau limits the possibilities of readers&#039; identification with the characters and thereby creates the &quot;essential ambivalence of comedy.&quot;  Fabliaux also capitalize on the contradiction implicit in the orthodox view of sex in marriage:  it is both enjoyable and sinful.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266442">
    <dcterms:title><![CDATA[The Court and Cultural Diversity: Selected Papers from the Eighth Triennial Congress of the International Courtly Literature Society, The Queen&#039;s University of Belfast, 26 J]]></dcterms:title>
    <dcterms:description><![CDATA[Thirty-seven essays by various authors arranged under five headings:  Contexts for Courtliness, Fashioning History and Romance, Negotiating a Courtly Voice, Texts and Readers, and Limits of Courtliness. For two essays that pertain to Chaucer, search for Court and Cultural Diversity under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272037">
    <dcterms:title><![CDATA[The Court Lyric in the Age of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s accomplishments in the development of lyric poetry, with commentary on Machaut, Deschamps, Hoccleve, Lydgate, and Villon. Chaucer is the &quot;high point&quot; of the English tradition inspired by the French.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266590">
    <dcterms:title><![CDATA[The Court of Nature and the Nature of Courts: An Inquiry into the Function of Natura in Chaucer&#039;s &#039;Parliament of Fowls&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the depiction of social order in Aristotle&#039;s &#039;Politics&#039; with that in PF.  Chaucer&#039;s Natura is a figure of &quot;communal order&quot; who properly subordinates the drive for procreation to the need for social hierarchy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276552">
    <dcterms:title><![CDATA[The Court of Richard II and Bohemian Culture: Literature and Art in the Age of Chaucer and the &quot;Gawain&quot; Poet.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers how Bohemian culture in the late fourteenth century influenced English medieval writers including Chaucer, Gower, and the Gawain- poet.Focuses on Anne of Bohemia, who married Richard II, and claims she &quot;may have been in Chaucer&#039;s mind as a patroness.&quot; Argues that the authors wrote in their vernacular language because they &quot;aspired o be part of a burgeoning vernacular European culture stretching from Paris to Prague and from Brabant to Brandenburg,&quot; and not only for nationalist reasons.]]></dcterms:description>
</rdf:Description></rdf:RDF>