<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/261654">
    <dcterms:title><![CDATA[The Genre of Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the polyphonic aspects of CT, following the theory of Bakhtin; regards CT as serio-comic and carnivalesque.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274467">
    <dcterms:title><![CDATA[The Genre of Chaucer&#039;s &quot;Man of Law&#039;s Tale&quot;: A Reappraisal.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that MLT is neither saints&#039; legend nor romance, but that its &quot;heroic theme, setting, and characters suggest strongly that . . . it belongs to the literary genre of epic and to the sociological genre of myth.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263185">
    <dcterms:title><![CDATA[The Genre of Chaucer&#039;s Fabliau-Tales]]></dcterms:title>
    <dcterms:description><![CDATA[The comic, satiric, and philosophic sophistication in Chaucer&#039;s narratives has no precedent in the fabliaux, but there are models in twelfth-century Latin comedy--notably for MilT (Geta) and MerT (Lidia).  Also discusses the theories of Northrop Frye.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271892">
    <dcterms:title><![CDATA[The Genre of Medieval Patience Literature: Development, Duplication, and Gender]]></dcterms:title>
    <dcterms:description><![CDATA[Details the patience genre in medieval literature. Chapter 5 focuses on Chaucer&#039;s female patience figures, including Griselda in ClT and female characters in LGW, and compares how Christine de Pizan and Chaucer treat the patience literature genre differently in their works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276658">
    <dcterms:title><![CDATA[The Genre of the &quot;Parlement of Foules.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the thirteenth- and fourteenth-century French tradition of short love-visions, observes similarities between PF and Oton de Grandson&#039;s &quot;Le Songe Saint Valentin,&quot; and emphasizes that Chaucer&#039;s originality most evident in two ways: his replacement of the traditional God or Goddess of Love with Nature and his &quot;grafting&quot; of the &quot;demande d&#039;amour&quot; genre onto the love-vision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265122">
    <dcterms:title><![CDATA[The Genre of Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;De casibus&quot; tragedy stems from a single event which determines the protagonist&#039;s career.  By contrast, the genre of TC is Boethian, depicting multiple crises in the lives of its characters with no single experience as the crucial one. The story of Troilus is a Boethian comedy; that of Criseyde a Boethian tragedy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264415">
    <dcterms:title><![CDATA[The Gentilesse of Chaucer&#039;s Franklin]]></dcterms:title>
    <dcterms:description><![CDATA[The Franklin is a gentleman with old-fashioned but praise-worthy standards.  FranT treats the fourteenth-century interdependent virtues of &quot;trouthe and honour, fredom and curteisie&quot; (A46)--moral values in ambiguous wrappings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268118">
    <dcterms:title><![CDATA[The Geography of Genre in the Physician&#039;s Tale and Pearl]]></dcterms:title>
    <dcterms:description><![CDATA[PhyT and Pearl both explore the assumption that the communal and anagogical can subsume the individual and ethical, an assumption underlying Fredric Jameson&#039;s historicist theorizing. The ending of PhyT indicates the &quot;hermeneutic limits&quot; of virgin saint narratives. Pearl takes the critique even further through its close relations with the saint&#039;s life of St. Agnes, exposing not only &quot;incompatible interpretive priorities&quot; but also the &quot;constitutive relationship between them.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268654">
    <dcterms:title><![CDATA[The Geopolitics of Incest in the Age of Conquest : Gerald of Wales Through Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[English political claims to Wales depended in part on claims of Welsh incest; Millersdaughter discusses various texts (including MLT) in which this &quot;heterogeneous, colonialist discourse&quot; is evident.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266764">
    <dcterms:title><![CDATA[The Gerund in Chaucer, with Special Reference to Its Verbal Character]]></dcterms:title>
    <dcterms:description><![CDATA[Like most of his contemporaries, Chaucer used gerunds primarily as nominals.  Yet his usage is marked by a penchant for &quot;determiner + gerund + &#039;of&#039;-adjunct&quot; and by an unusual number of gerunds with verbal properties, especially in his prose.]]></dcterms:description>
    <dcterms:description><![CDATA[A revision of an essay originally published in &quot;Poetica&quot; (Tokyo) 21-22 (1985).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268883">
    <dcterms:title><![CDATA[The Gerund in Chaucer, with Special Reference to the Development of Its Verbal Character]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s use of gerunds, observing that his usage is generally not unusual for his time except in two respects: he more frequently uses the construction &quot;determiner+gerund+of-adjunct&quot;; and seemingly &quot;modern&quot; gerunds with verbal properties occur in his works, especially his prose works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277032">
    <dcterms:title><![CDATA[The Gift of Narrative in Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Engages several literary and anthropological theories of gifts, and addresses related motifs of reciprocity, generosity, promising, and exchange in medieval English texts, especially romances. Individual chapters assess &quot;King Horn&quot;/&quot;Horn Childe&quot; narratives, the Auchinleck manuscript and &quot;Sir Gawain and the Green Knight,&quot; KnT and TC (gifts, gender, pledging, and praying), FranT and ManT (promises, speech acts, bodies, and the unpredictability of exchange), and Lydgate&#039;s &quot;Troy Book&quot; as a narrative of gifts and as a gift book in Manchester, John Rylands Library, MS English 1.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270802">
    <dcterms:title><![CDATA[The Gift of Tongues: Women&#039;s Xenoglossia in the Later Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses (pp. 143-88) Chaucer&#039;s &quot;great translation experiment&quot; in PrPT, MLT, and SqT, arguing that Chaucer is &quot;highly invested in the mechanics of miraculous and mundane translation&quot; and that Custance is a &quot;medieval example of a xenoglossic holy woman who possesses a complete mastery over Latinity.&quot; Translation is crucial to an understanding of &quot;Chaucer&#039;s accomplishments as a vernacular writer and his contribution to Middle English literature.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261953">
    <dcterms:title><![CDATA[The Gifts of Nature, Fortune, and Grace in the &#039;Physician&#039;s,&#039; &#039;Pardoner&#039;s,&#039; and &#039;Parson&#039;s Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Host&#039;s reference to the &quot;yiftes of Fortune and of Nature&quot; is the thematic basis for Group C (Fragment 6).  PhyT shows how Grace can sustain those injured by Nature&#039;s gifts; PardT shows the wretched fate of those who, blinded by Fortune&#039;s gifts, are unredeemed by Grace.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276915">
    <dcterms:title><![CDATA[The Gilded Page: The Secret Lives of Medieval Manuscripts.]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces medieval manuscripts, their production, and their legacies, with emphasis on the experiences, surprises, and pleasures of manuscript study. Refers to Chaucer&#039;s life, works, and manuscripts recurrently, with a brief section on his &quot;playfulness&quot; in relation to the contingencies of attribution and authorship reflected in Adam and HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264289">
    <dcterms:title><![CDATA[The Girl with Two Lovers: Four Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[KnT, MilT, MerT,and FranT share the same plot--the story of the girl with two lovers--and show striking interrelations and variations of episodes, conventions, images, and ideas.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261342">
    <dcterms:title><![CDATA[The Glass of Form: Mirroring Structures from Chaucer to Skelton]]></dcterms:title>
    <dcterms:description><![CDATA[Torti&#039;s introduction explores the Christian and classical precedents for mirror metaphors in late-medieval English literature and surveys medieval tradition.  Subsequent chapters discuss mirror imagery in Lydgate&#039;s Temple of Glass, Hoccleve&#039;s Regement of Princes, and Skelton&#039;s Bowge of Courte and Speke Parrot.  Chapter two analyzes the mirroring of earthly and divine love in TC.]]></dcterms:description>
    <dcterms:description><![CDATA[  Criseyde&#039;s love mirrors Troilus&#039;s; Pandarus&#039;s art mirrors the narrator&#039;s.  Human love and human writing are only images of divine love and divine truth.  The Christian ending of the poem successfully mirrors its pagan plot.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271043">
    <dcterms:title><![CDATA[The Gleaner&#039;s Prologue: Chaucer&#039;s Legend of Ruth]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes Chaucer&#039;s uses in LGWP of the term &quot;legend&quot; and the image of &quot;gleaning&quot; for literary leftovers, the latter derived from Leviticus and here linked to the Book of Ruth. Reads these devices for their implications in the development of hagiography and narrative tradition in western literature, suggesting that LGWP represents Chaucer&#039;s awareness of the &quot;intertextal transactions&quot; involved in writing literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277415">
    <dcterms:title><![CDATA[The Global Pilgrimage of Geoffrey Chaucer&#039;s &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the &quot;global reach&quot; of the literatures and languages that underlie the sources and settings of CT (with particular attention to SqT), and describes the multilingual, international range of translations, modernizations, adaptations, and other &quot;creative re-writings&quot; of Chaucer&#039;s work. Suggests that because CT &quot;began by reconfiguring relationships among the world&#039;s people and languages, they now can be remade to similar ends, thereby allowing us to understand Chaucer as England&#039;s first global poet.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272329">
    <dcterms:title><![CDATA[The Gloomy Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s comic perspective as one that &quot;takes all things lightly because fundamentally they are too serious . . . a way of faring the universe bravely.&quot; Exemplifies the poet&#039;s narrative device of offering rhetorical &quot;defence of the author&#039;s position against a querulous objector,&quot; and argues that the device indicates Chaucer&#039;s ironic, humane, and warm acceptance of human limitations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269334">
    <dcterms:title><![CDATA[The God of Love and Love of God: Palinodic Exchange in the Prologue of the Legend of Good Women and the &#039;Retraction&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Intertextual connections among LGWP, Ret, and the end of TC capitalize on the medieval scholastic literary theory of the co-authorship of books by human authors and God (&quot;duplex causa efficiens&quot;). All three works remind audiences of authorial responsibility and the need for accurate interpretation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274925">
    <dcterms:title><![CDATA[The Goddes and God in the &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares TC with Boccaccio&#039;s &quot;Filostrato,&quot; and explores Chaucer&#039;s &quot;controlled use of the gods and the Christian God&quot; as they &quot;function ambiguously and symbolically&quot; in contributing to the &quot;ultimate meaning of the poem.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272342">
    <dcterms:title><![CDATA[The Goddess Natura in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the uses and development of personified Nature in classical and medieval traditions, focusing on Boethius, Bernard Silvestris, Alain de Lille, Jean de Meun, and Chaucer&#039;s relations with all of them in PF. Following tradition, Chaucer presents Nature as &quot;pronuba as well as procreatrix&quot; and &quot;vicaria Dei,&quot; the universal vicar of God whose &quot;doctrine of love&quot; is an orderly combination of pleasure, productivity, and marriage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272699">
    <dcterms:title><![CDATA[The Golden Ambiguity of the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;linguistic irony which results from [an] extended pun on &#039;amor&#039;&quot; runs throughout CT, supported by the diction and imagery of gold. Spiritual love is associated recurrently with positive images of gold; earthly love, with negative ones.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268388">
    <dcterms:title><![CDATA[The Golden Cockerel Press, The Canterbury Tales &amp; Eric Gill: Decoration and the Mise en Page]]></dcterms:title>
    <dcterms:description><![CDATA[Holliday considers Eric Gill&#039;s wood-engraving illustrations to The Canterbury Tales (4 vols., Golden Cockerel Press, 1929-31) in light of Gill&#039;s collaboration with Robert Gibbings (owner of the press), the legacy of Edward Johnston (Gill&#039;s teacher of lettering), and the Arts and Crafts movement, which can be traced to William Morris. Gill&#039;s breaks with tradition are evident in his greater concern with typographical design than with historical atmosphere.]]></dcterms:description>
</rdf:Description></rdf:RDF>