<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/276551">
    <dcterms:title><![CDATA[The Flesh Made Mind: Language and Embodiment in Late Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares &quot;contemporary cognitive models of self, that posit an interconnection between body and mind, with Pre-Modern conceptions of an embodied self &quot; as the latter are represented in several late medieval English works including BD, HF, and KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269352">
    <dcterms:title><![CDATA[The Flight from Desire: Augustine and Ovid to Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Seven chapters on topics related to Ovid, Augustine, Hloïse and Abélard, Marie de France, Dante, Roman de la Rose, and Chaucer&#039;s relations with Boccaccio and Dante in TC. Grounded in Augustinian, Ovidian, and biblical models, TC (lines 5.540 ff.) explores the impossibility of desire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263216">
    <dcterms:title><![CDATA[The Flight from Incest: Two Late Classical Precursors of the Constance Theme]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;Clementine Recognitions&quot; and &quot;Apollonius of Tyre&quot; were probably known to Chaucer.  He eschews their incest motif but reminds readers of it by his reference to Apollonius in the introduction of MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275315">
    <dcterms:title><![CDATA[The Floure and the Leafe and The Assembly of Ladies.]]></dcterms:title>
    <dcterms:description><![CDATA[Edits these two examples of Chaucerian apocrypha, with introduction, textual and critical notes, glossary, and bibliography, observing that the &quot;only reason for the attribution&quot; to Chaucer is &quot;their inclusion in the sixteenth-century collected editions of Chaucer,&quot; commenting on the lack of external evidence, and showing that &quot;the internal evidence of language, rhyme, and metre . . . is all against&quot; such an attribution. Identifies Chaucerian echoes in the poem and describes the history of the attribution in various printed editions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264726">
    <dcterms:title><![CDATA[The Floure and the Leafe; The Assembly of Ladies; The Isle of Ladies]]></dcterms:title>
    <dcterms:description><![CDATA[A teaching edition of three works of Chaucerian apocrypha, including individual introductions, notes, marginal glosses,bibliographies, and a brief glossary.  The introductions place the poems in the Chaucerian tradition and comment on their genres and styles.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270024">
    <dcterms:title><![CDATA[The Floure and the Leafe: A Source of Keatsian Inspiration]]></dcterms:title>
    <dcterms:description><![CDATA[The theme of doubleness in &quot;The Floure and the Leafe&quot; appears to have been especially attractive for Keats,whose attention was always drawn to the relationship between life and art. He found in the medieval poem an interesting &quot;authority&quot; that allowed him to transform an ancient poem, written in the form of a debate, into a modern lyrical composition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268825">
    <dcterms:title><![CDATA[The Flower and the Leaf and the Assembly of Ladies: A Revisitation]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the two title poems in the context of contemporary court activities and conventions as &quot;attempts to present a moralized version of love within an allegorical framework.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265155">
    <dcterms:title><![CDATA[The Flower of the Imagination: French Marguerite Poetry and Chaucer&#039;s Prologue to &#039;The Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[LGW provides an important statement of Chaucer&#039;s poetics.  It recognizes his genuine debt to his French contemporaries.  The poet-dreamer does not reject or parody the tradition of &quot;fin amor,&quot; but under its direction he acknowledges the poet&#039;s duty to praise God and serve the world by writing of the diversity of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269330">
    <dcterms:title><![CDATA[The Flower, the Leaf, and Philippa of Lancaster]]></dcterms:title>
    <dcterms:description><![CDATA[Coleman surveys the betrothals, marriage, and literary patronage of Philippa of Lancaster, suggesting that she may have given Chaucer a copy of Deschamps&#039;s &quot;Ballade 765,&quot; which may have helped to inspire Chaucer&#039;s interest in flower and leaf debates that underlie LGWP. Includes a text and translation of Deschamps&#039;s ballade.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261584">
    <dcterms:title><![CDATA[The Fool in the Wakefield Plays]]></dcterms:title>
    <dcterms:description><![CDATA[The conflation of the fool with the devil in medieval representation reflected unstable boundaries between the witless man, who had the protection of the Church, and his imitator, the artificial fool.  The Wakefield Satan, an artificial fool, is traceable to Guilielmus Peraldus, a mid-13th-century writer who strongly influenced Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277543">
    <dcterms:title><![CDATA[The Forest in Chaucer&#039;s &quot;The Book of the Duchess,&quot; Ll. 416-426: Echoes of the Nave and Tower of Old St Paul&#039;s Cathedral.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the forest described in BD, 416-26, is &quot;both topographical and ekphrastic,&quot; comparing details of the forest with aspects of Wenceslas Hollar&#039;s engravings of the nave of Old St. Paul&#039;s Cathedral, reproduced in William Dugdale&#039;s history of the cathedral.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275080">
    <dcterms:title><![CDATA[The Forgotten Chaucer Scholarship of Mary Eliza Haweis (1848-98). ]]></dcterms:title>
    <dcterms:description><![CDATA[A critical biography of Haweis that emphasizes her work as a Chaucer scholar, critic, editor, and illustrator, explaining her accomplishments in relation to the better-known Chaucerians of the nineteenth century and exploring why her influence is not more widely acknowledged today. Includes discussion of Haweis&#039;s texts for children and schools, and other publications on Chaucer, identifying innovative approaches and issues that later became widespread critical concerns: the paternity of Thomas Chaucer, real-life models for Chaucer&#039;s characters, his &quot;special communication with an implied audience,&quot; appreciation of MilT, and bridging popular and academic approaches to Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263917">
    <dcterms:title><![CDATA[The Forgotten Sky: A Guide to Astrology in English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[On the use of astrology from medieval times through the eighteenth century, the book is in three parts:  an explanation of genuine astronomy and astronomical terms; an explanation of false premises in astrological schematics; and application of astrological information to selected literary texts, including Chaucer&#039;s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276820">
    <dcterms:title><![CDATA[The Form of &quot;The Canterbury Tales&quot;: &quot;Respice Fines.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Seeks to illuminate &quot;the kind of order that Chaucer was in the process of imposing&quot; on the CT, focusing on the &quot;definite beginning&quot; and &quot;definite end&quot; rather than the &quot;great middle.&quot; Treats GP, where Chaucer sets his topic (&quot;variety of the created world&quot;), and KnT and MLT as, respectively, philosophical and religious guides to the world, with ParsT serving as a necessary penitential alterative to the limitations of such perspectives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262880">
    <dcterms:title><![CDATA[The Form of Romance and the Resolution of Theological Issues]]></dcterms:title>
    <dcterms:description><![CDATA[Considers romance as a vehicle for the resolution of philosophical and theological problems, the relation of history to romance, and the rhetorical systems of each genre.  KnT, TC, and &quot;Sir Gawain and the Green Knight&quot; illustrate how Chaucer and the &quot;Gawain&quot;-poet utilized the formal structures, rhetorical devices, and themes of romance to address the crucial issue of free will within a providential universe.]]></dcterms:description>
    <dcterms:description><![CDATA[KnT is a &quot;twin&quot; narrative and romance corollary of Augustine&#039;s argument against pagan fatalism.  TC and &quot;Sir Gawain&quot; use formal structures and a persona or controlled point of view to create a perspective similar to the logic tjht Augustine used to refute Cicero&#039;s denial of free will.  The poems illustrate, rather than state, that God&#039;s foreknowledge is not foreordination.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275988">
    <dcterms:title><![CDATA[The Form of the &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Emphasizes Chaucer&#039;s development of form in CT. Demonstrates that Chaucer&#039;s experiments with form in CT and other works, including TC, are traced to origins in Boccaccio&#039;s works, and argues for a connection between these formal experiments and Chaucer&#039;s content.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262550">
    <dcterms:title><![CDATA[The Formal Attire of Being: Self-Consciousness and the Representation of Identity in Augustine&#039;s &#039;Confessions,&#039; the Old English &#039;Beowulf,&#039; and Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Characters&#039; sense of identity emerges variously from the varying contexts in which the selves operate.  In medieval literature, this sense of identity, allied to function rather than &quot;object-self,&quot; is drawn through purpose; &quot;his own romantic vision&quot; fills the center of Troilus&#039;s identity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267293">
    <dcterms:title><![CDATA[The Four Last Things in Dante and Chaucer : Hugolino and the House of Rumour]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Chaucer&#039;s relation to Dante as one of &quot;palpable disbelief&quot; in the Italian&#039;s claims for authority about the afterlife and God&#039;s judgments. In MkT and HF, Chaucer adapts Dante to establish a more worldly and more skeptical sense of poetry. Cooper argues for 1384 as the date of composition for HF and suggests that Dante is, ironically, Chaucer&#039;s &quot;man of gret auctorite&quot; (HF 2158).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263122">
    <dcterms:title><![CDATA[The Fourteenth Century Environment of Discourse: Rhetoric and Imagination in Chaucer&#039;s Audience]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the literacy, education, and cultural milieu of Chaucer&#039;s audience, the courtly circle and the upper socioeconomic echelons, especially the GP portrait of the Pardoner and PardT, to suggest reader response based on theories of Iser, Rosenblatt, and Hirsch.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270135">
    <dcterms:title><![CDATA[The Fourteenth Century Soldier: More Chaucer&#039;s Knight or Medieval Career?]]></dcterms:title>
    <dcterms:description><![CDATA[Bell analyzes the military record of 5,600 soldiers from Chaucer&#039;s lifetime to discover how many had records of military service similar to the experience of Chaucer&#039;s Knight. It was not uncommon for English soldiers to serve as mercenaries in locales such as Italy and Prussia. Most surprising is that the Knight is not credited with service in the Hundred Years&#039; War, an omission that was &quot;very unusual&quot; for a soldier of this time.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262949">
    <dcterms:title><![CDATA[The Fourth Temple of &#039;The Knight&#039;s Tale&#039;: Athenian Clemency and Chaucer&#039;s Theseus]]></dcterms:title>
    <dcterms:description><![CDATA[Anderson examines Chaucer&#039;s use of Statius&#039;s &quot;Thebaid,&quot; specifically the description of the temple of the goddess Clemence, within medieval traditions that saw her temple as a &quot;type of foreshadowing of the Church,&quot; associated with the &quot;Unknown God.&quot;  Medieval commentators found &quot;Statius&#039;s description of Athenian clemency and the temple dedicated to it so congenial as to identify it not with idolatry but with the true faith.&quot;  Chaucer&#039;s opening scene in KnT reflects Statius&#039;s description of the temple.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266562">
    <dcterms:title><![CDATA[The Fox, the Cock, and the Priest Chaucer&#039;s Escape from Fable]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s NPT tests the limits of the fable tradition.  Containing two complete fables--one from the first half (ending with the cock&#039;s downfall and capture) and another from the second (don&#039;t open your mouth)--the &quot;Tale&quot; combines to form a third fable, with additional morals.  The added length, and the diversity it affords, allows Chaucer to deepen his characterization and to add complexity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266580">
    <dcterms:title><![CDATA[The Fragmentation of Visionary Iconography in Chaucer&#039;s &#039;House of Fame&#039; and the &#039;Cloisters Apocalypse&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Like the &quot;Cloisters Apocalypse,&quot; HF depicts the Day of Judgment.  Both works &quot;select, rearrange, and fragment&quot; the biblical account of the apocalypse, reminding us that interpretation is necessary for sinners.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266889">
    <dcterms:title><![CDATA[The Frame Is the Thing: Gower and Chaucer and Narrative Entente]]></dcterms:title>
    <dcterms:description><![CDATA[Awareness of narratological levels helps us understand differences in intent in Gower and Chaucer. Comparison of Gower&#039;s &quot;Tale of Florent&quot; and Chaucer&#039;s WBT illustrates these differences. Overall, Gower has a purpose and achieves closure; Chaucer conceals his purpose and evades closure. With Ret, Chaucer &quot;is just beginning what Gower has ended&quot; (38).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263955">
    <dcterms:title><![CDATA[The Frame Narrative: History and Theory]]></dcterms:title>
    <dcterms:description><![CDATA[Frame narratives (Arabic in origin) display open-endedness, structural looseness, and autonomy of component tales.  In CT, Chaucer combines Arabic, classical, and Christian elements and draws on their mutual tensions.]]></dcterms:description>
</rdf:Description></rdf:RDF>