<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/267379">
    <dcterms:title><![CDATA[The Decameron and the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the &quot;relevance and importance&quot; of the Decameron to the study of CT, considering evidence of Chaucer&#039;s knowledge of Boccaccio&#039;s work and the ways the two works reflect similar and different &quot;cultural agendas.&quot; Comparison of shared motifs and tales reveals differences in the &quot;sitedness&quot; of individual tales--differences in the status of tales as personal or class-based expression.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267561">
    <dcterms:title><![CDATA[The Decameron and the Canterbury Tales: New Essays on an Old Question]]></dcterms:title>
    <dcterms:description><![CDATA[Eleven studies on reception and influence, the shared culture of the two authors, and specific tales. Includes an introduction by Koff and an afterword by David Wallace. For essays that pertain to Chaucer, search for Decameron and the Canterbury Tales: New Essays on an Old Question under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267388">
    <dcterms:title><![CDATA[The Deconstructure of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Critical attempts to find structural cohesion or unity in CTare misguided. Instead of reading over or past the interruptions, omissions, and inconsistencies of the poem, we ought to recognize that, in many ways, its absences are central to its structure. For example, largely without a narrative herself, Emily is the motivating absence of KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271744">
    <dcterms:title><![CDATA[The Degradation of Chaucer&#039;s &#039;Geffrey&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Articulates various &quot;levels of perception&quot; manipulated by Chaucer to create comic irony through his personae in BD, HF, PF, LGW, and CT. The &quot;Chaucerian pose&quot; is relatively constant in the early poems where the narrator is a &quot;reasonable man&quot; (but &quot;no more than this&quot;) whose common sense sets a standard by which the audience is guided to higher perception. In CT Chaucer &quot;takes himself down a peg&quot; by declaring his ignorance, thereby intensifying comedy through increasing caricature. Such self &quot;degradation&quot; indicates the personality of the poet.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272561">
    <dcterms:title><![CDATA[The Dehumanizing Metamorphoses of The Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies in KnT a &quot;series of metamorphoses that expose the dehumanizing force of Venerian love,&quot; arguing that Chaucer converted Boccaccio&#039;s &quot;random collection&quot; of animal images into a &quot;formal pattern&quot; and obliquely affirmed the Boethian notion that worldly love is anti-transcendent. Similarly, the Knight&#039;s chivalric ideals are misdirected, subtly undercut by the rhetoric of &quot;occupatio&quot; throughout the tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276745">
    <dcterms:title><![CDATA[The Demonstrative Adjective &quot;This&quot;: Chaucer&#039;s Use of a Colloquial Narrative Device.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Chaucer&#039;s uses of &quot;this&quot; to &quot;create narrative tone and dramatic meaning&quot; in CT, discussing a variety of examples and exploring metrical, rhetorical, and syntactic features as they help in characterization. Includes comments on the six uses of &quot;this Pandarus&quot; in TC, and suggests that in CT the device helps to keep the tales&#039; narrators &quot;unobtrusively in the reader&#039;s consciousness.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267611">
    <dcterms:title><![CDATA[The Denigration of John Lydgate: Implications of Printing History]]></dcterms:title>
    <dcterms:description><![CDATA[The printing history of Chaucer and Lydgate runs parallel until about 1540. After that, only the printing of Chaucer continues, although Lydgate&#039;s works are often included in editions of Chaucer or Chauceriana. The 1542 Statute &quot;An Acte for thaduauncement of true Religion,&quot; in combination with Lydgate&#039;s reputation as the monk of Bury, appears to have caused the decline of his popularity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272139">
    <dcterms:title><![CDATA[The Derived Nominals, Gerunds, and Participles in Chaucer&#039;s English]]></dcterms:title>
    <dcterms:description><![CDATA[Anatomizes Chaucer&#039;s uses of the &quot;&#039;ing&#039;-morpheme,&quot; arguing that &quot;Chaucer&#039;s dialect did not contain a gerund as a normal grammatical device&quot; (even though examples exist) and that English &quot;participles and derived nominal had become phonetically identical&quot; by his time. Also comments on Chaucer&#039;s rare uses of progressives and the historical conflation of &quot;ing&quot; forms.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264631">
    <dcterms:title><![CDATA[The Descent from Bliss: &#039;Troilus,&#039; III, 1310-1582]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer is concerned with showing the consequences of the consummation of the love of Troilus and Criseyde as it concerns both characters and narrator.  The events following this consummation scene also broadly parallel those in Dante&#039;s &quot;Purgatorio&quot; from Canto 19 to the end.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266973">
    <dcterms:title><![CDATA[The Descriptio in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how Chaucer manipulates the conventions of the &quot;descriptio&quot; in TC, arguing that he capitalizes on its metaliterary potential. Chaucer gives texture to the descriptio of Criseyde by spreading it throughout several portions of the narrative. He uses the device to record ambiguities rather than universal standards of beauty and makes the reader aware of the process whereby his descriptiones shape ambiguity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262691">
    <dcterms:title><![CDATA[The Descriptive Art of the &#039;General Prologue&#039; to the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the artistry of Chaucer&#039;s GP portraits:  their relationship to contemporary literary expectations and the &quot;conventional medieval portrait,&quot; their order, their importance in creating a &quot;sense or &#039;reality,&#039;&quot; and their &quot;interaction&quot; with subsequent links and tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263050">
    <dcterms:title><![CDATA[The Design of Chaucer&#039;s &#039;Parlement of Foulys&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[A closely argued analysis of the meaning and design of PF.  The three parts are designed to give harmony and balance to the poem, which explores debate on the question of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264787">
    <dcterms:title><![CDATA[The Design of Douglas&#039;s &#039;Palice of Honour&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discussion of the literary background of Douglas&#039;s poem takes account of Chaucer&#039;s references to music, especially in HF and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264831">
    <dcterms:title><![CDATA[The Design of the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Since Kittredge, we have come to see a dramatic structure at the heart of CT, with interaction not only among the tellers but also among the tales themselves.  Many points, however, are still in dispute:  the order of the tales, the question of symbolic interpretations, and the nature of ParsT and Ret.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted from the first (1968) edition, with updated bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264991">
    <dcterms:title><![CDATA[The Design of the &#039;General Prologue&#039; to the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[GP is a coherent structure indicating a subtle spiritual reality coinciding to Christian doctrines.  It is not seen simply as a social vision, but as encircling both moral and spiritual truths which match:  generosity to &quot;gentils,&quot; materialism to bourgeoisie, and dishonesty to churls.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266970">
    <dcterms:title><![CDATA[The Desolate Palace and the Solitary City: Chaucer, Boccaccio, and Dante]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the exegetical tradition of the passage in Lamentations that lies behind TC 5.540-53, linking Boccaccio, Dante, and Chaucer with that tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274494">
    <dcterms:title><![CDATA[The Destruction of Pandare.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares and contrasts Chaucer&#039;s &quot;Pandare&quot; of TC with Shakespeare&#039;s Pandarus of &quot;Troilus and Cressida,&quot; emphasizing the degenerate nature of the latter and Shakespeare&#039;s reduction of the &quot;great depth of  . . . personality&quot; that characterizes Chaucer&#039;s version--a &quot;fully fleshed-out, complex human being operating on a great many levels of feeling, thought and expression at the same time.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262516">
    <dcterms:title><![CDATA[The Detached and Judging Narrator in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Zucker analyzes Chaucer as rhetorician, poet, and Christian poet influenced by Boethius, Macrobius, and Dante, arguing that Chaucer writes HF as a game inventing a &quot;refuge&quot; world,as a serious commentary on love, and as an an autobiography of the simple Christian in search of truth.  Zucker compares HF and the Rape of the Lock as two ironic versions of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273722">
    <dcterms:title><![CDATA[The Detached and Judging Narrator in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the combination of serious message (the nature of &quot;love-in-the world&quot;) and comic method in HF, exploring Chaucer&#039;s shifts in narrative stance, his adaptations of Dante, his uses of irony, and the similarities between his methods and those used by Augustan poets, especially Alexander Pope in &quot;The Rape of the Lock.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261702">
    <dcterms:title><![CDATA[The Development and Decline of British Antifraternal Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Latin and French antifraternal works preceded English ones, which display a distinctive treaatment of friars as peddlars,as in Chaucer&#039;s SumT.  In the Renaissance, antifraternal writing gradually disappeared from Britain, along with the friars.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276335">
    <dcterms:title><![CDATA[The Development of Arthurian Romance.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on several thematic concerns as they occur in Chaucer&#039;s works as well as in Arthurian tradition (pity, renunciation of the world, etc.) and summarizes scholarship pertaining to the Auchinleck MS as a source for Th; also discusses WBT as a &quot;tale of faerie&quot; rooted in Celtic tradition but most interesting as a &quot;self-revelation&quot; of the Wife of Bath.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273780">
    <dcterms:title><![CDATA[The Development of Mood in Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses Chaucer&#039;s techniques of evoking and changing moods in TC, closely examining hope and fear in Book 2, and commenting on imagery, character psychology, and diction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268055">
    <dcterms:title><![CDATA[The Development of Non-Assertive Any in Later Middle English and the Decline of Multiple Negation]]></dcterms:title>
    <dcterms:description><![CDATA[Examines occurrences of &quot;any&quot; in four Middle English texts, including CT. The word occurs more frequently in negative contexts in formal tales (KnT, ClT, Mel, and ParsT) than elsewhere.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276683">
    <dcterms:title><![CDATA[The Development of the &quot;Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Posits a &quot;chronology of growth&quot; for the CT, seeking &quot;to follow the imagination of the poet and to recapture the dynamics of creation&quot; evident in Chaucer&#039;s apparent changes in plan. Comments on earlier scholarly efforts to explain or understand inconsistencies and/or alterations in the tale-assignments, geographical and temporal details, and the number and sequence of tales and fragments, proposing a series of stages in Chaucer&#039;s compositional process.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263931">
    <dcterms:title><![CDATA[The Development of the Pastourelle in the Fourteenth Century: An Edition of Fifteen Poems with an Analysis]]></dcterms:title>
    <dcterms:description><![CDATA[These poems from the University of Pennsylvania MS French 15 show what was happening to the pastourelle and serventois in France from 1300 to the time when Froissart began writing similar lyrics in London, before 1364.]]></dcterms:description>
</rdf:Description></rdf:RDF>