<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/262213">
    <dcterms:title><![CDATA[The Disenchanted Self: Representing the Subject in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Treating &quot;impersonated artistry&quot; and &quot;unimpersonated artistry&quot; in light of current theory in the human sciences, Leicester addresses the &quot;dramatic principle&quot; in CT, assuming the position that the &quot;tales are radically voiced.&quot;  Each is &quot;an expression of its teller&#039;s personality and outlook as embodied in the unfolding &#039;now&#039; of the telling.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Applying the theory that &quot;narratores non sunt multiplicandi sine absolute necessitate&quot; and recognizing Chaucer&#039;s &quot;conspicuous textuality&quot; (his self-conscious production of texts), the author maintains that &quot;the voicing of any tale--the personality of any pilgrim--is not given in advance by the prologue portrait or the facts of history, nor is it dependent on them.  The personality has to be worked out by analyzing and defining the voice created by each tale.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Drawing on social theory, psychoanalysis, and deconstruction, he analyzes &quot;character&quot; as a &quot;subject...in language and discourse&quot; in contexts of &quot;self, gender, and society,&quot; especially in PardT, WBT, and KnT.  Also treats GP Knight, Wife of Bath, Pardoner, and Chaucer the Pilgrim.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262083">
    <dcterms:title><![CDATA[The Disingenuous Poet Laureate: Spenser&#039;s Adoption of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Spenser imitated Chaucer&#039;s bumbling narrative stance and tone and employed Chaucerian allusions to feign a humility that dismarmed criticism and enabled him to undercut the Tudor myth.  Further, he expected his reader to understand the pretense.  Book 1 of &quot;The Faerie Queene&quot; echoes Th, PF, and KnT, as well as Virgil, in order to subvert the imperial epic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277256">
    <dcterms:title><![CDATA[The Distinction between Chaucer and Shakespeare&#039;s Rendition of Their Troilus and Criseyde (Cressida).]]></dcterms:title>
    <dcterms:description><![CDATA[Briefly describes differences between TC and Shakespeare&#039;s &quot;Troilus and Cressida,&quot; focusing on genre and style, characterization, and attitudes toward women.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261530">
    <dcterms:title><![CDATA[The Distorting Glass: Literary Representations of Women in the English Renaissance]]></dcterms:title>
    <dcterms:description><![CDATA[Although Chaucer and Christine de Pisan showed themselves well aware of the distorting mirror of gender constructions by men, the Renaissance produced even more misogynist views, especially in Jacobean domestic tragedy.  Shakespeare, however, recognized &quot;masculinist paranoia.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264240">
    <dcterms:title><![CDATA[The Divine Granary, or the End of the Prioress&#039;s &#039;Greyn&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although earlier scholarship has recognized the importance of the Feast of the Holy Innocents in PrT, a reading of the entire mass as it occurs in the Sarum use suggests that the &quot;greyn&quot; is not a mere prop but a symbol with rich liturgical resonances.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276307">
    <dcterms:title><![CDATA[The Doctor in Nigellus Wireker and Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that it &quot;seems altogether likely&quot; that when creating his GP description of the Physician Chaucer &quot;at least had in mind&quot; the doctor of the Brunellus the ass episode in Nigellus Wireker&#039;s &quot;Speculum Stultorum&quot;; both doctors are avaricious.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273135">
    <dcterms:title><![CDATA[The Doctor of Physic]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the historical background of late fourteenth-century medical practice in order to understand better Chaucer&#039;s portrait of the Physician in GP. Emphasizes how Chaucer reveals his opinions on morality, as well as the medical profession, through this description.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272589">
    <dcterms:title><![CDATA[The Doctor&#039;s Dilemma: A Comic View of the &#039;Physician&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Characterizes the Physician of GP as &quot;inscrutable,&quot; although &quot;smelling mildly of hypocrisy,&quot; and argues that the &quot;narrative uneasiness&quot; of PhyT is well suited to this &quot;man of the world [who] seeks to mask his worldliness in affected piety.&quot; The Jephthah exemplum of PhyT reflects the teller&#039;s &quot;morally disarranged imagination&quot; and the moralization of the Tale discloses that his espousal of a moral consciousness is a &quot;sham.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272763">
    <dcterms:title><![CDATA[The Doctrine of &#039;Vera Nobilitas&#039; as Developed After Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Observes parallels between the discussion of true gentility in WBT (&quot;gentilesse&quot;; 3.1109-1212) and fifteenth-century treatments of the subject in Latin (by Buonaccurso de Montemagno), French (Jean Mielot), and English (John Tiptoft), observing that there is no radical break between medieval and Renaissance discussions of the topic, which share similar classical roots.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272816">
    <dcterms:title><![CDATA[The Doctrine of Charity and the Use of Homiletic &#039;Figures&#039; in the &#039;Man of Law&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that &quot;figures&quot; (ship, castle, and related images) drawn from Augustinian theology and medieval sermons convey the &quot;Christian concept of charity&quot; in MLT and heighten its &quot;religious intensity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271598">
    <dcterms:title><![CDATA[The Doll&#039;s House]]></dcterms:title>
    <dcterms:description><![CDATA[Gothic fantasy graphic novel in which Chaucer makes a cameo appearance, discussing poetry in a tavern in 1389. One of the characters in the tavern seeks to avoid death, an echo of PardT. Originally published in magazine form as The Sandman 9.16 (1989).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276823">
    <dcterms:title><![CDATA[The Domestic Background of &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reconstructs the layout and functions of the rooms and gardens of the households in TC, drawing on details in the poem and evidence from fourteenth-century English architecture, with connections to correlative structures and scenes elsewhere in Chaucer&#039;s works. Attends closely to arrangements in Pandarus&#039;s house where Troilus and Criseyde consummate their love, and to the diction of architecture and domestic practice. Comments on the recurrent presence of household retainers in the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267437">
    <dcterms:title><![CDATA[The Dominican Presence in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes various kinds of influence Dominicans may have had on Chaucer, Gower, and Langland. From the lumping of Dominicans with other friars in literary portraits, to the influence of individual Dominican writers, to Dominican notions of salvation and piety, there is little marked Dominican presence in the works of these Middle English writers. Select lyrics may show a more distinct presence, however, perhaps even authorship.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275450">
    <dcterms:title><![CDATA[The Double Bind of Chivalric Sexuality in Late Medieval Romance. ]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of KnT in a group of late-medieval English romances that differ from Continental romances in that they &quot;outline a male heterosexual model informed by a Boethian contemptus mundi theme in which sobriety and reservedness replaces eroticism and sexual desire as the center and defining factor of sexual identity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262542">
    <dcterms:title><![CDATA[The Double Role of Criseyde in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;By developing an inner and outer Criseyde, by occasionally indicating a disparity between the two, by raising questions about her behaviour and usually acknowledging that he, the narrator, does not have the answers, (Chaucer) convinces the reader that Criseyde is somehow inscrutable.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272814">
    <dcterms:title><![CDATA[The Double Sorrow of Troilus: A Study of the Ambiguities in &quot;Troilus and Criseyde&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explains the ambivalences, ambiguities, paradoxes, and ironies--the double meanings--that are generated in TC by Chaucer&#039;s combination of Boccaccio&#039;s plot with Boethian philosophy (inflected by twelfth- and thirteenth-century philosophy of love), magnified by the &quot;interventions&quot; and &quot;specious dialectic&quot; of the narrator, and reflected in the characters&#039; ambiguous and sometimes manipulative uses of the traditional language, imagery and actions of medieval love narratives. Attends also to the comedy and wit of the poem that vie with its tragic events, the importance of the readers&#039; experiences in perceiving its meanings, and the ways by which we can perceive both Chaucer&#039;s intentions and the unity of the plot and epilogue. Includes an appendix entitled &quot;&#039;Kynde&#039; and &#039;Unkynde&#039;.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263608">
    <dcterms:title><![CDATA[The Double Structure of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues, from the symmetrical structure of TC, binary rather than the popular five-part interpretation.  Manuscript studies suggest that Chaucer originally wrote TC as a two-part poem and later changed it.  Shakespeare had the same conflict.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275407">
    <dcterms:title><![CDATA[The Double Time Scheme in Book II of Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines references to times and dates in Book II of TC, arguing that Chaucer creates a double sense of time in order to convey a &quot;rapid sequence of events&quot; among the three main characters while also conveying through a &quot;longer time scheme&quot; the &quot;gradual growth of Criseyde&#039;s love.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270008">
    <dcterms:title><![CDATA[The Doubled Joys of Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Rosenfeld concentrates on language of lovers and language of clerks  (&quot;erotic and intellectual discourses&quot;), arguing that TC affirms the value of earthly happiness during life, as well as the inevitable instability of earthly matters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272084">
    <dcterms:title><![CDATA[The Draf of Storyes: Chaucer as Non-Narrative Poet]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s rhetorical, &quot;inorganic,&quot; &quot;non-narrative&quot; structuring devices in various works: BD, Anel, selected lyrics, and TC, with comments on aspects of LGW and CT, especially Part 7 and ManT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277163">
    <dcterms:title><![CDATA[The Dragon of Love: Chaucer&#039;s Jason and the Cycle of Consumption in the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Jason in LGW and other sexually predatory men, examines a number of motifs in Chaucer&#039;s version of Jason, and highlights the danger of men such as Jason who hide their behavior behind gentility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261985">
    <dcterms:title><![CDATA[The Dramatic Fitness of the &#039;Nun&#039;s Priest&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[NPT makes fun of the Monk and the Prioress by combining hunting, rough handling of animals, sexual indulgence, and two morals.  The &quot;treading,&quot; the hunting, the near sacrifice and downfall, the injunction against flattery, touch upon the sensibilities of the Monk and the Prioress without open,lasting offense.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273778">
    <dcterms:title><![CDATA[The Dramatic Suitability of &quot;The Man of Law&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the &quot;fitness&quot; of MLT to Chaucer&#039;s teller, surveying critical commentary, considering sources and analogues, assessing the historicity of legal details in the Tale, and suggesting that the trial scene evinces Chaucer&#039;s knowledge of &quot;Anglo-Saxon judicial practice.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268598">
    <dcterms:title><![CDATA[The Dream and the Book : Chaucer&#039;s Dream-Poetry, Faculty Psychology, and the Poetics of Recombination]]></dcterms:title>
    <dcterms:description><![CDATA[Examines medieval notions of poetics and faculty psychology as approaches to BD, HF, PF, and LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273894">
    <dcterms:title><![CDATA[The Dream as a Literary Framework in the Works of Chaucer, Langland, and the Pearl Poet.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the conventions of late-medieval English &quot;literary dreams,&quot; and explores how Chaucer, William Langland, and the &quot;Pearl&quot;-poet exploit the &quot;potentialities of the form,&quot; including discussion of the development of the dream narrator in BD, HF, PF, and LGWP, with attention to the narrator&#039;s naiveté and Chaucer&#039;s uses of comedy. ]]></dcterms:description>
</rdf:Description></rdf:RDF>