<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/271662">
    <dcterms:title><![CDATA[The Evolutionary Tales: Rhyme and Reason on Creation/Evolution with Apologies to Chaucer and Darwin]]></dcterms:title>
    <dcterms:description><![CDATA[A defense of evolution cast as an imitation of CT, with a prologue and several arguments in iambic pentameter, presented as the tales of the Astronomer, the Philosopher, the Physicist, the Biblical Scholar, the Cosmologist, etc. Revised editions in 1996 and 2006.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268091">
    <dcterms:title><![CDATA[The Exegetics of Laughter: Religious Parody in Chaucer&#039;s Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Johnston assesses the interactions between religious allusion and satire in MilT, exploring the exegetical traditions of God&#039;s private parts, the Flood, and Absolon&#039;s use of the Song of Songs. The Tale generates laughter that ridicules religion and religious hermeneutics, yet its multilayered techniques simultaneously affirm exegetical thinking.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263500">
    <dcterms:title><![CDATA[The Exemplary Griselda]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses fourteenth-century responses to the Griselda story--notably those of Petrarch, Philippe de Mezieres, and the &quot;Menagier de Paris--focusing on their consistent understanding of the tale as an exemplary (not allegorical) account of heroic patience and on the nature of the demands exempla place on the reader.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271919">
    <dcterms:title><![CDATA[The Exigencies of &#039;Latyn corrupt&#039;: Linguistic Change and Historical Consciousness in Chaucer&#039;s &#039;Man of Law&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets Custance&#039;s use of &quot;Latyn corrupt&quot; to the natives of Northumbria in terms of Isidore of Seville&#039;s discussion of linguistic history and suggests that MLT takes an acutely historicist view of the development of medieval Christianity, questioning Christianity&#039;s imperial Roman heritage, and privileging instead its vernacular and local traditions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270436">
    <dcterms:title><![CDATA[The Existential Mysteries as Treated in Certain Passages of Our Older Poets]]></dcterms:title>
    <dcterms:description><![CDATA[Explicates tensions within several poetic evocations of mutability in English poetry:  the Old English &quot;Wanderer,&quot; &quot;Beowulf,&quot; the end of Chaucer&#039;s TC (5.1835-48), and Spenser&#039;s Mutability Cantos. Chaucer and Spenser both use &quot;equivocation&quot; to express &quot;seriously divergent views of the world, its value, and its mysteries . . . and [point] to an inexpressible synthesis.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262356">
    <dcterms:title><![CDATA[The Expanded Form in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s expanded forms are mostly adjectival, as in Old English, though many of them are used appositively with intervening modifiers.  He also uses them with verbs denoting durability or knowledge and with the point-action verbs, probably for stylistic, rhythmic, or metrical reasons.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261617">
    <dcterms:title><![CDATA[The Extremities of the Faith: Section VIII of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Stone&quot; is an allegorical figure of Christ in both the Old and New Testaments, illuminating the three kinds of stones in SNT and CYT: &quot;those of the pagans, of the alchemists and of the Christians.&quot;  Chaucer presents the &quot;extremities of human faith&quot; embodied in the Nun and the Yeoman.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274224">
    <dcterms:title><![CDATA[The F or G Prologue Again: Is the &quot;Ballade&quot; a Clue?]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses several aspects of the &quot;ballade&quot; in LGWP to argue that the differences between the F and G versions of the interpolated poem (itself composed as a standalone lyric) indicate that the F version predates the G. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273635">
    <dcterms:title><![CDATA[The F-Fragment of the &quot;Canterbury Tales&quot;: Parts I and II.]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets SqT and FranT as &quot;expressions of their tellers,&quot; with the latter being an &quot;instructive modification&quot; of the &quot;Squire&#039;s attitude toward life.&quot; Contrasts the uses of rhetorical devices in SqT and KnT in order to show the Squire&#039;s youthful, narcissistic failure to control his material and his own attraction to romance, magic, and fantasy. The Franklin is similarly attracted, but wisely controls himself and his rhetoric, indicating his awareness of the &quot;social context of narration&quot; and the need to engage his audience responsibly.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272332">
    <dcterms:title><![CDATA[The Faber Book of Religious Verse]]></dcterms:title>
    <dcterms:description><![CDATA[Includes four selections of Chaucer&#039;s verse, in Middle English: Truth, [&quot;Love Unfeigned&quot;] (TC 5.1835-48), [&quot;A Wanton Merry Friar&quot;] (GP 1.208-68), and [&quot;A Poor Parson&quot;] (GP 1.476-97 . . . 507-28). Published in New York by Oxford University Press as &quot;A Book of Religious Verse.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265273">
    <dcterms:title><![CDATA[The Fabliau in English]]></dcterms:title>
    <dcterms:description><![CDATA[This six-chapter history of fabliau tradition begins with an examination of medieval French fabliaux, including a description of their usual characteristics and a discussion of relevant criticism.  It then addresses French fabliaux in English, as well as Middle English fabliaux. ]]></dcterms:description>
    <dcterms:description><![CDATA[Three chapters place Chaucer&#039;s ShT, MilT, RvT, SumT, and MerT within the larger context of the fabliau tradition, suggesting the &quot;critical and historical independence of the English (and some other) fabliaux from the French tradition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264236">
    <dcterms:title><![CDATA[The Fabliau in Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[The nine surviving Anglo-Norman fabliaux (three translated from manuscripts are appended) differ from their seven English counterparts (five in CT) in depicting higher social ranks, incorporating less violence, and introducing less antifeminism.  From 1350 to 1400 French fabliaux influenced both Anglo-Norman and English traditions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264832">
    <dcterms:title><![CDATA[The Fabliaux]]></dcterms:title>
    <dcterms:description><![CDATA[The advance of the fabliaux in critical estimation is perhaps the major development of twentieth-century Chaucer studies. The fabliau--an &quot;upper&quot;-class genre ridiculing the buffoneries of the &quot;lower&quot; classes and clergy--flourished in thirteenth-century France but was moribund by the time Chaucer resurrected and refined it in England.]]></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/262241">
    <dcterms:title><![CDATA[The Fabliaux: Tales of Wit and Deception]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the relationship between meaning and literary structure in Old French fabliaux.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264647">
    <dcterms:title><![CDATA[The Fabrications of Pandarus]]></dcterms:title>
    <dcterms:description><![CDATA[Just as TC is &quot;distanced&quot; from the reader by its setting during the Trojan War, so too does Pandarus blur the lines between reality and fiction.  The &quot;real&quot; world is an illusion; the little world of the lovers is all that is real.  Ironically, Pandarus&#039; fabrications turn out to be true--e.g., the invention of the fictional rival Horaste forces the guiltless heroine to defend herself against a charge that will soon enough be true, when she falls into Diomede&#039;s hands. ]]></dcterms:description>
    <dcterms:description><![CDATA[There is a feeling that Pandarus&#039; lies--like the poem itself and like God&#039;s own creation--are transitory but nonetheless alluring and delightful.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274348">
    <dcterms:title><![CDATA[The Façade of Bawdry: Image Patterns in Chaucer&#039;s &quot;Shipman&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;imagery and narrative detail&quot; in ShT subtly undercut the Tale&#039;s &quot;relish for quick-witted deception&quot; and its &quot;philosophy of money,&quot; typical of the fabliau genre. Several image clusters and their points of occurrence in the Tale evoke &quot;the traditional Christian standard&quot; and ironically critique the ethos of fabliaux.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263585">
    <dcterms:title><![CDATA[The Faces of Griselda: Chaucer, Prior, and Richardson]]></dcterms:title>
    <dcterms:description><![CDATA[ClT influenced &quot;The Not-Browne Mayd&quot; in narrative action, diction, and organization.  The latter was the model for Matthew Prior&#039;s &quot;Henry and Emma,&quot; which was in turn the model for Richardson&#039;s &quot;Clarissa.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275868">
    <dcterms:title><![CDATA[The Facts on File Companion to British Poetry before 1600.]]></dcterms:title>
    <dcterms:description><![CDATA[An encyclopedia of authors, works, genres, trends, terminology, and sources of British poetry from the beginnings to 1600, with entries composed by the editor and many contributors, with cross listings and suggestions for further reading. Includes an Introduction and a comprehensive Index, the latter featuring numerous references to Chaucer, his works, and stylistic and thematic concerns.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268647">
    <dcterms:title><![CDATA[The Faerie Queene, Book V, and the Politics of the Text]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces the 2002 Kathleen Williams Lecture on the sexual politics of FQ with an anecdote about a Smith College professor&#039;s delicacy with language in MilT and RvT; connects RvT with acquaintance rape.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262151">
    <dcterms:title><![CDATA[The Failure of Invention : Chaucer&#039;s &#039;Squire&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[According to literary theorists, writers were able either to rework sources or more easily, to invent new matter.  In the former method, the poet had to work the original idea anew, avoiding too close imitation, errors, and confusion.  In SqT, the narrator dramatizes authorship:  The Squire &quot;Koude songes make and wel endite.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[His tale is a &quot;radical experiment that attempts--and fails--to synthesize narrative form and &quot;materia remota.&quot;  The only attempt in CT at a true chivalric romance, SqT looks back to Chretien&#039;s classic form of interlaced romance and conforms to Dante&#039;s &quot;ambages&quot; (a &quot;roundabout way&quot;), suggesting labyrinthine movement:  multiple episodes, interlaced plots, deferral, and digression, to produce wonder.]]></dcterms:description>
    <dcterms:description><![CDATA[Aspects of SqT are similar to &quot;Sir Gawain.&quot;  In contrast to the Knight, the Squire is unable to control his tale: the energy of the tale is &quot;dissipated by the narrator&#039;s self-reflexive devices and oratorical gestures.&quot;  The magic depends upon machines and physics, not the mysterious, &quot;thaumaturgic power&quot; emphasized in sources and the chivalric romance tradition.  Chaucer was influenced by the emergence of experimental science.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262194">
    <dcterms:title><![CDATA[The Failure of the Intellect in Chaucer&#039;s &#039;Reeve&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[RvT is a denunciation of the university system and its participants.  The two clerks abandon their learning and stoop to the anti-intellectual level of the miller.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274549">
    <dcterms:title><![CDATA[The Fairy Way of Writing: Shakespeare to Tolkien.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores developments in the writing of fantasy literature, describing WBT along the way as an indication of an early stage in the diminishing status of romance, migrating from &quot;elite to popular culture.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261677">
    <dcterms:title><![CDATA[The Faith of a Simple Man: Carpenter John&#039;s Creed in the &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The carpenter&#039;s comments on his knave&#039;s report of Nicholas&#039;s condition must be seen in terms of the vigorous promotion of the connection between the working class and a severely circumscribed knowledge of the rudiments of faith.]]></dcterms:description>
    <dcterms:description><![CDATA[Revised in Alan J. Fletcher, Preaching, Politics, and Poetry in Late-Medieval England (Dublin: Four Courts, 1998).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261277">
    <dcterms:title><![CDATA[The Falcon&#039;s Complaint in The Squire&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Unlike its two closest analogues--Mars and Anel--the falcon&#039;s lament exceeds its own generic and linguistic constraints and functions as both narrative and complaint.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262532">
    <dcterms:title><![CDATA[The Fall of Troy in &#039;Sir Gawain and the Green Knight&#039; and &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although critics have generally dismissed &quot;Sir Gawain&#039;s&quot; Troy frame as insignificant, it may offer a retrospective, ironic context for predicting the fall of Arthurian civilization.  Chaucer&#039;s TC also uses &quot;retrospective irony&quot; to create &quot;a rich and complex sense of the difficulty of knowing...and of making judgements.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>