<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/265222">
    <dcterms:title><![CDATA[The Ends of Fiction: Narrative Boundaries and Chaucer&#039;s Attitude Toward Courtly Love]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, as in CT, Chaucer plays with genre, first postulating it and then blurring the reader&#039;s expectations of what it will do.  Readers are forced to question the value of &quot;Art as an interpreter of Life.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270905">
    <dcterms:title><![CDATA[The Ends of Love: (Meta)physical Desire in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Fumo reads Criseyde as someone &quot;who does not believe in love&quot; and perhaps &quot;does not believe at all,&quot; a representation of fourteenth-century epistemological concerns &quot;reanimated in the context of a Petrarchan psychology of enamourment.&quot; Criseyde&#039;s comments on love, in contrast to Troilus&#039;s, demonstrate that her view is essentially skeptical, perhaps atheistic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274183">
    <dcterms:title><![CDATA[The Ends of Reading in the &quot;Merchant&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets the biblical allusions and references in MerT as Chaucer&#039;s invitation to his audience to &quot;consider the ethics of appropriating morally authoritative texts.&quot; The narrator, January, and May manipulate textual authority in various ways, highlighting the tenuousness of interpretation in a fallen world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277485">
    <dcterms:title><![CDATA[The Ends of Romance in Chaucer and Malory.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that, in select romances, Chaucer confronts &quot;serious matters&quot;--political, social, ethical, and aesthetic--and experiments with the range and flexibility of the genre, comparing KnT and WBT as metacritical romances that interrogate their own idealizations, and Th and SqT (also metacritical) as self-conscious experiments, concerned with the &quot;limitations and liabilities of romance patternings.&quot; Malory&#039;s &quot;experimental originality,&quot; on the other hand, lies in his  consolidation and unification of diverse romance materials.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276541">
    <dcterms:title><![CDATA[The Ends of Romance in Chrétien and Chaucer: Unresolved and Unfinished Texts in the Middle Ages.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;completion is not essential to the meaning or value of romance in the Middle Ages&quot; in discussing works by Chrétien as well as SqT, Th, and &quot;the dynamic of opening and closing&quot; of KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273005">
    <dcterms:title><![CDATA[The Ends of Storytelling]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses the importance  of storytelling, and the &quot;sheer power of narrative&quot; in CT. In particular, argues that  CT is &quot;not an allegory,&quot; and that Chaucer plays with time by putting ParsT and Ret at the end, which reinforces the fact that &quot;there  is no time  or space left for the storytelling to continue.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274616">
    <dcterms:title><![CDATA[The Ends of Storytelling.]]></dcterms:title>
    <dcterms:description><![CDATA[Finds &quot;ideas of mortality, the end of life, and the end of storytelling . . . closely linked&quot; in Gower&#039;s &quot;Confessio Amantis.&quot; Argues that the work leads the narrator, the poet, and the audience to a conclusion in which all &quot;can share in his hope of joy on the other side of the apocalypse, the end of the world, the end of story.&quot; Reflects how this shared understanding and vision are presented in CT, especially in GP, KnT, ParsT, and Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267403">
    <dcterms:title><![CDATA[The Engaged Spectator : Langland and Chaucer on Civic Spectacle and the Theatrum]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys various kinds of spectacle in late-medieval English society, exploring backgrounds of and attitudes toward tournaments, royal processions and entries, civic celebration, and dramas. Assesses Langland&#039;s depiction in &quot;Piers Plowman&quot; of the London reception of Richard II and the procession of Lady Meed (modeled on Alice Perrers&#039;s involvement in a pageant in 1366). Also assesses the tournament of KnT as Chaucer&#039;s ambivalent representation of spectacle, a combination of courtly pomp and &quot;fateful machinery.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261306">
    <dcterms:title><![CDATA[The England of Piers Plowman: William Langland and His Vision of the Fourteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Introduction to Piers Plowman as a lively mirror of fourteenth-century English society, directed to a nonspecialist audience.  Includes a synopsis, derives Langland&#039;s biography from the poem, and reads it in light of contemporary social and religious institutions, ethics and ideals, trends and practices.  Du Boulay assesses the poem&#039;s notions of truth, virtuous action, and eschatology.]]></dcterms:description>
    <dcterms:description><![CDATA[  Throughout, the historical context of the poem is a major concern.  Comparisons with Chaucer&#039;s works occur occasionally.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264559">
    <dcterms:title><![CDATA[The English &#039;Partonope of Blois,&#039; Its French Sources, and Chaucer&#039;s &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Analysis of the conclusion of the English &quot;Partonope&quot; and its French source&#039;s conclusion suggests the English as a later work done under the influence of Chaucer&#039;s tale.  The author may have followed a copy of Chaucer&#039;s work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261251">
    <dcterms:title><![CDATA[The English Alliterative Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Disputes the traditional view that the English alliterative poetical tradition was consistent from the seventh through the fifteenth centuries and proposes profound differences between Old English meter, early Middle English meter, and Alliterative Revival meter, with a continuing discussion of the evolution of English meters.]]></dcterms:description>
    <dcterms:description><![CDATA[  Section 5.3, &quot;The Decasyllabic Meter of Chaucer and           Gascoigne,&quot; proposes two distinct metrical traditions in the decasyllabic line, the &quot;alternating&quot; pattern of Chaucer and the &quot;foot&quot; pattern of Shakespeare and Sidney.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274135">
    <dcterms:title><![CDATA[The English and Their History.]]></dcterms:title>
    <dcterms:description><![CDATA[Presents a comprehensive history of England and argues that shared language is a key component of an English national identity that was developed by the end of the Middle Ages. Credits Chaucer, Langland, and Wyclif with the revival of English in the fourteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274639">
    <dcterms:title><![CDATA[The English Boccaccio: A History in Books.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the translation and reception history of Boccaccio&#039;s work in English &quot;from the fifteenth century to the twentieth,&quot; including discussion of the role of Chaucer and of Chaucer studies as impetus for nineteenth-century interest, popular and professional, in Boccaccio as a source for Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273791">
    <dcterms:title><![CDATA[The English Chaucerians.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the achievements, excellences, and limitations of English fifteenth-century &quot;secular non-popular poetry,&quot; concentrating on works by Thomas Hoccleve, Stephen Hawes, John Skelton, and, especially, John Lydgate, along with other love allegories and translations, anonymous and by named poets. Argues that Lydgate&#039;s influence in the century was &quot;considerably greater&quot; than Chaucer&#039;s, but observes how and where the poets establish Chaucer&#039;s legacy by praise and imitation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262769">
    <dcterms:title><![CDATA[The English Dream Vision: Anatomy of a Form]]></dcterms:title>
    <dcterms:description><![CDATA[Dream visions of Langland, Chaucer, and the &quot;Pearl&quot;-poet use &quot;not simply a common external form but one that contains an internal, intrinsic dynamic or strategy as well&quot;; it derives from the &quot;skepticism and nominalism of Augustine, Macrobius,Guillaume de Lorris, Ockham, and Guillaume de Conches.&quot;  Russell examines the form in its literary and scientific contexts and shows that the dream poets use it &quot;to call all experience into question.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Chapter 5, &quot;Applications: Three Deconstructive Dream Visions,&quot; is devoted to BD, HF, and &quot;Pearl.&quot;  These poems deal with &quot;questions of epistemology, of perspective, of ways of knowing, and of the relationship between words and the truth these words seek to express.&quot;  They all &quot;share a profound distrust of language and its ability to represent phenomenal reality...and an equal distrust of the knowability of that reality.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[BD is a deconstructive poem, a &quot;meditation on the problems of the language of sentiment.&quot;  It shows language failing rhetorical intentions but affirming a community that holds &quot;values inexpressible in words.&quot;  BD expresses grief without &quot;succumbing to the trivial locutions.&quot; ]]></dcterms:description>
    <dcterms:description><![CDATA[HF also expresses the inexpressible:  it &quot;demonstrates that poems lie.&quot;  The &quot;slippery distinctions&quot; between dreamer-character and dreamer-poet suggest that the purpose of HF is &quot;the undermining of lore itself, the deconstruction of, perhaps, discourse itself.&quot;  Chaucer uses writing &quot;to deconstruct the tyranny of the written word.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264163">
    <dcterms:title><![CDATA[The English Fabliau Tradition and Chaucer&#039;s &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although there were only a few English fabliaux before the late fourteenth century, an English fabliau genre can be identified as distinct from the earlier French in dramatic aspects, i.e., the use of direct speech.  &quot;Dame Sirith,&quot; for example, influenced Chaucer in diction and the use of parody.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276321">
    <dcterms:title><![CDATA[The English Fabliau: Before and After Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the limitations of Lydgate&#039;s &quot;Siege of Thebes&quot; and the Prologue to the &quot;Tale of Beryn&quot; as imitations of Chaucer, and discusses at greater length how his fabliaux are superior to &quot;Dame Sirith&quot; and to later English comic tales such as &quot;The Wright&#039;s Chaste Wife,&quot; &quot;The Freiris of Berwik,&quot; &quot;The Mery Jest of the Mylner of Abyngton,&quot; etc.--a tradition that fails to match Chaucer&#039;s achievement and &quot;trickle[s] away in merry jests.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272033">
    <dcterms:title><![CDATA[The English Fabular Tradition: Chaucer. Spenser, Dryden]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the use of similar techniques by Chaucer, Spenser, and Dryden constitutes a &quot;distinctive English fabular tradition,&quot; discussing ManT, PF, and NPT, as well as Spenser&#039;s &quot;Shepheardes Calendar,&quot; &quot;Mother Hubberds Tale,&quot; and &quot;Muipotmos,&quot; and Dryden&#039;s &quot;The Hind and the Panther.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269594">
    <dcterms:title><![CDATA[The English Loathly Lady Tales: Boundaries, Traditions, Motifs]]></dcterms:title>
    <dcterms:description><![CDATA[Eleven essays by various authors and an introduction by the editors. Each of the essays touches on WBT and its relationship with Irish and/or English analogues, and seven of them consider WBT at length. The volume includes an index. For the articles that focus on Chaucer, search for English Loathly Lady Tales under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275219">
    <dcterms:title><![CDATA[The English Lyric Tradition: Reading Poetic Masterpieces of the Middle Ages and Renaissance.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers instruction on how to read &quot;older poetry&quot; rhetorically, with emphasis on conventional forms and subgenres of lyric verse, and using the scansion system of Derek Attridge (1982). Chapter 4, &quot;The Love Complaint Ballade: Chaucer to Wyatt&quot; (pp. 72-89), includes close readings of Purse and the perhaps spurious Wom Unc (here titled &quot;Madame, for your newfangelnesse,&quot; its opening line), accompanied by background on the verse form and Chaucer&#039;s career.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267444">
    <dcterms:title><![CDATA[The English Medieval Book : Studies in Memory of Jeremy Griffiths]]></dcterms:title>
    <dcterms:description><![CDATA[Thirteen essays on codicology, compilation, and book production in the English late Middle Ages, an introduction, and two memorials honor the work of Jeremy Griffiths. Includes a list of Griffiths&#039;s publications, a general index, and an index of manuscripts. For four essays that pertain to Chaucer search for English Medieval Book under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262240">
    <dcterms:title><![CDATA[The English Medieval Minstrel]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the traditions and explores the functions of harpers, minstrels, fools, actors, acrobats, singers, magicians, and other entertainers from Anglo-Saxon times through the reigh of Henry VII.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262375">
    <dcterms:title><![CDATA[The English Nobility in the Late Middle Ages: The Fourteenth-Century Political Community]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the chief preoccupations of the noble and knightly families of the fourteenth century; politics (both local and national), the lands, and the family structure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271772">
    <dcterms:title><![CDATA[The English Poets from Chaucer to Edward Thomas]]></dcterms:title>
    <dcterms:description><![CDATA[An anthology of English poetry, interspersed with ongoing commentary. Includes in Middle English (pp. 1-16) sections of GP (opening, Prioress, and Pardoner) and much of PardT, with commentary that emphasizes Chaucer&#039;s &quot;variety of moods and techniques.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268591">
    <dcterms:title><![CDATA[The English Romance in Time : Transforming Motifs from Geoffrey of Monmouth to the Death of Shakespeare]]></dcterms:title>
    <dcterms:description><![CDATA[The motifs of medieval romances continued to be familiar in Tudor-Stuart England, although their meanings and the ways they were understood changed in time. Cooper traces a broad variety of romance motifs--quest, pilgrimage, encounters with fairies, the &quot;Fair Unknown,&quot; threats to virginity, monstrous birth, magic and nonfunctioning magic, troth-plighting, etc.--documenting their availability to the English Renaissance in black-letter editions of medieval works and discussing their development and appropriation in Renaissance drama and narratives.]]></dcterms:description>
    <dcterms:description><![CDATA[References to Chaucer and his works recur throughout, particularly to TC and the romances of CT (KnT, MLT, WBT, FranT, and Th). Includes an appendix on medieval romance in English after 1500.]]></dcterms:description>
</rdf:Description></rdf:RDF>