<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/266029">
    <dcterms:title><![CDATA[The Figure of Cressida in British and American literature: Transformation of a Literary Type]]></dcterms:title>
    <dcterms:description><![CDATA[Chapter 2, &quot;Civilization and Its Ambivalence,&quot; explores how Chaucer&#039;s rendering of Cressida has set the stage for all subsequent British and American portrayals of her.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263805">
    <dcterms:title><![CDATA[The Figure of Medea in Medieval Literature: A Thematic Metamorphosis]]></dcterms:title>
    <dcterms:description><![CDATA[After a wide variety of classical treatments, Medea was transformed through the medieval concept of &quot;fin&#039; amor.&quot;  Although her earthly passion is negatively contrasted with divine love in some works, she is canonized as a saint of love in LGW and in Gower&#039;s &quot;Confessio Amantis.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276081">
    <dcterms:title><![CDATA[The Figure of Minerva in Medieval Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes backgrounds, and analyzes depictions of and references to Minerva in late medieval British literature, exploring her as &quot;&quot;redemptress, mistress of the liberal arts, patroness of princes, idol, and Venus&#039; ally,&quot; and arguing that writers of the fifteenth and early sixteenth century used her many-faceted characterization to encourage careful reading. Includes recurrent references to TC and other Chaucerian works, often treating them as models and background to later English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265058">
    <dcterms:title><![CDATA[The Figure of Solomon in Chaucer&#039;s Merchant&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Ironic references to Solomon, who is typologically identified with Christ, as well as to the &quot;Song of Solomon,&quot; makes January something of an anti-Christ figure, just as May is a blasphemous counterpart of Mary, and January&#039;s garden a degraded &quot;hortus conclusus.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272038">
    <dcterms:title><![CDATA[The Figure of the Pilgrim in Medieval Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Compares and contrasts CT, Dante&#039;s &quot;Divine Comedy,&quot; and Langland&#039;s &quot;Piers Plowman&quot; as pilgrimage narratives, particularly their emphasis on the poet as pilgrim and movement toward salvation as structure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274279">
    <dcterms:title><![CDATA[The Figure of the Poet in Renaissance Epic.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the &quot;significance of the Narrator&#039;s changeability or instability&quot; in Renaissance epics by Boiardo, Ariosto, Tasso, and Spenser, with prefatory discussions of works by Horace and Ovid, Chaucer, and Petrarch. The chapter on Chaucer (pp. 44-66) focuses on the &quot;rhetorical function&quot; of the poet-narrator&#039;s &quot;self-depreciation and apparent self-contradiction&quot; in TC which &quot;leads the reader&quot; through a process of, first, &quot;sympathetic identification&quot; with the characters and, then, hierarchical transcendence of the limitations of their worldly perspectives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267676">
    <dcterms:title><![CDATA[The Figure of the Singer]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the relationship between song and poetry in English tradition, identifying the tenacity of the association until the end of the nineteenth century as evident in poetry and in the statuary of London&#039;s Albert Memorial. Cites evidence from TC and Chaucer&#039;s lyric poems to argue that in the 1300s and 1400s verse was &quot;still steeped in music, but no longer dissolved in it.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264019">
    <dcterms:title><![CDATA[The Figure of the Wayward Nun in Late Medieval Literature: The Ambiguous Portraits of the Archpriest of Hitas&#039;s Dona Garoza and Chaucer&#039;s Madame Eglentyne]]></dcterms:title>
    <dcterms:description><![CDATA[In the &quot;Libro de buen amor&quot; and CT, Dona Garoza and the Prioress are treated satirically, in a tradition based on reports of bishops&#039; visitations to convents.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274480">
    <dcterms:title><![CDATA[The Final Irony of the Pardoner&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the dramatic ironies of PardPT (comparing them with those of WBPT), arguing that the Pardoner does not reveal &quot;more than he intends, but rather the converse&quot;: that none of the pilgrims &quot;is able to see the full meaning of what he says&quot; because his falseness compels them to reject him and the valid morality of his sermon. Rejected by the pilgrims, he is the &quot;only unpardoned man&quot; on the road to Canterbury.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275488">
    <dcterms:title><![CDATA[The Findern Codex and the Blog In the Middle: Understanding Middle English Vernacular Manuscripts Through the Lens of Social Media in the Twenty-First<br />
Century.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the arrangement and composition of two of the booklets of the Findern manuscript (Cambridge University Library, MS Ff.1.6) for the ways they may be seen as &quot;the record of interactions within the community of readers and scribes who had access to it&quot; (161), suggesting similarities with internet blogging. Includes comments on the location and presentation of several works by Chaucer: the legend of Thisbe from LGW, Anelida&#039;s Complaint from Anel, and The Complaint of Venus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276473">
    <dcterms:title><![CDATA[The Findern Manuscript: A New Edition of the Unique Poems.]]></dcterms:title>
    <dcterms:description><![CDATA[Edits thirty-four poems from Cambridge University Library, MS Ff.1.6--those found in no other manuscript--with texts, notes, glossary, and bibliography. The introduction includes discussion of language and scribes, and commentary on the poems&#039; place in &quot;what might broadly be described as the Chaucerian tradition,&quot; with attention to quotations from TC in poem 21; poem 5 as a &quot;much-neglected bit of Chaucerian apocrypha&quot;; the &quot;female voice&quot; of poem 26, which echoes Ven; and more general Chaucerian and Lydgatian resonances.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272757">
    <dcterms:title><![CDATA[The Finished Fragment: A Reassessment of the &#039;Squire&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that SqT reflects its teller&#039;s unsophisticated &quot;effort to dissociate himself and courtly love from the . . . crude caricature&quot; evident in MerT, and contends that when the Franklin interrupts the Squire he is &quot;&#039;pretending&#039; to think him finished.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264684">
    <dcterms:title><![CDATA[The First German Essay on Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Caroline Spurgeon&#039;s (1925) attribution of the first German essay on Chaucer to J. J. Eschenburg (1793) is inaccurate.  Karl Friedrich Flogel published a short Chaucerian essay a decade earlier in &quot;Geschichte der komischen Literatur&quot; (1784-87).  German transcript and English translation are included.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274278">
    <dcterms:title><![CDATA[The First Italian Criticism of Chaucer and Shakespeare.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies the earliest mention of Chaucer in Italian criticism, in the preface to Paolo Rolli&#039;s translation of Milton&#039;s epic, &quot;Del Paradiso Perduto&quot; (1729).  Rolli&#039;s comments include recognition, perhaps the first, that Chaucer refers to Dante in MkT (7.2461); he also mentions Chaucer&#039;s debt to Petrarch and Boccaccio.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262817">
    <dcterms:title><![CDATA[The First Italian Essay on Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[In his &quot;Teatro d&#039;huomini letterati&quot; (1647), Gerolamo Ghilini includes a sketch of Chaucer&#039;s life and works based on John Pits&#039;s &quot;Relationem historicarum de rebus anglicis&quot; (Paris, 1619).  Errors and omissions demonstrate that Ghilini depended wholly upon Pits and had no knowledge of (Middle) English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276431">
    <dcterms:title><![CDATA[The First of The Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores paradoxes of thematic and structural order in KnT--the &quot;mechanical&quot; ups and downs of Fortune, the narrator&#039;s control, the human order of design and progression, accumulative resonances of Boethian material, and the &quot;logic, justice, and order of the divine&quot; that even Theseus cannot see. The &quot;poem, however, does see all this.&quot; The poem &quot;reveals its order through apparent disorder&quot; so that though Palamon&#039;s &quot;winning Emelye seems to stand as a crowning inadequacy to all that has gone before.&quot; It &quot;renews the line of Thebes . . . and the bond of peace between Thebans and Greeks&quot; . . . . and it &quot;also renews in the divine chain of love the bond between man and woman&quot; that was broken by Theseus&#039;s conquest at the opening of the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272355">
    <dcterms:title><![CDATA[The First Presentation Miniature in an English-Language Manuscript]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the argument that the lack of Chaucerian presentation miniatures suggests that Chaucer did not write for wealthy patrons. Identifies the first presentation miniature in an English-language manuscript as the 1409 incipit image in John Trevisa&#039;s &quot;Governance of Kings and Princes,&quot; reviews the history of presentation miniatures in French-language manuscripts, and shows that, in both languages, presentation miniatures seem to be reserved for &quot;serious&quot; literature, such as national chronicles and translations of learned Latin material.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276875">
    <dcterms:title><![CDATA[The First Riverside Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Highlights the three-volume edition of Chaucer&#039;s works published in 1879 by Arthur Gilman, emphasizing the achievements of Gilman as an editor and situating his scholarly activities in his then-contemporary context.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262124">
    <dcterms:title><![CDATA[The First Technical Writer in English : A Challenge to the Hegemony of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[By adducing several Middle English prose texts prior to Chaucer&#039;s Astr, Hagge refutes claims that Astr represents the first piece of technical writing in English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269650">
    <dcterms:title><![CDATA[The First Technical Writer in English: Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Summary description of Astr that describes Chaucer&#039;s &quot;admirable textbook method&quot; and comments on his &quot;rules of good technical writing,&quot; including simple diction and syntax, awareness of audience, repetition for emphasis, and copious illustrations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273122">
    <dcterms:title><![CDATA[The Five Guildsmen]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s creation of the five Guildsmen in GP. Stresses the &quot;complex phenomenon,&quot; historical background, and proliferation of medieval guilds and fraternities in the fourteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274732">
    <dcterms:title><![CDATA[The Five Senses in Medieval and Early Modern England.]]></dcterms:title>
    <dcterms:description><![CDATA[Collection of essays presenting perspectives on interrelations between sense perception and secular and Christian cultures in England from the Middle Ages to the Early Modern period. For essay on Chaucer, search for The Five Senses in Medieval and Early Modern England under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266935">
    <dcterms:title><![CDATA[The Five Wounds of Melibee&#039;s Daughter: Transforming Masculinities]]></dcterms:title>
    <dcterms:description><![CDATA[Places Mel in the context of Richard II and his detractors in the 1380s and 1390s and examines the competing kinds of masculinity in the Tale as argued by Prudence and allegorized in the character of Sophie.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262797">
    <dcterms:title><![CDATA[The Flaw in Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[Troilus&#039;s failure to speak up against the exchange of Criseyde underlines his timidity in society and ultimately his moral cowardice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265300">
    <dcterms:title><![CDATA[The Flemish Analogue to Chaucer&#039;s &#039;Miller&#039;s Tale&#039;: Three Notes]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses three different lines in the Middle Dutch &quot;Heile van Beersele,&quot; an analogue to MilT.]]></dcterms:description>
</rdf:Description></rdf:RDF>