<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/273863">
    <dcterms:title><![CDATA[The Hunt is Up, Sir Thopas: Irony, Pun and Ritual.]]></dcterms:title>
    <dcterms:description><![CDATA[Discourages pursuit of ironic and sexual implications in details in Tho (7.748-59), suggesting that the mention of &quot;bukke and hare&quot; is best understood as parodic conjoining of two categories of hunted beasts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272627">
    <dcterms:title><![CDATA[The Hunt Motif in &#039;The Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the Dreamer in BD is &quot;on a kind of hunt,&quot; knowing all along the cause of the Black Knight&#039;s grief but seeking to &quot;draw him out.&quot; His hunt joins with the &quot;forest chase,&quot; the love quest, and &quot;Fortune&#039;s stalking of Blanche,&quot; so that various aspects of the hunt motif combine suggestively.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276320">
    <dcterms:title><![CDATA[The Hunt of the Hare in &quot;Das Häslein.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Opens a discussion of hare-hunting as parody in the Middle High German fabliau &quot;Das Häslein&quot; with comments on Chaucer&#039;s Monk (GP 191-92 and MkP 7.1945-48) and, with reference to medieval hunting practice, shows that the German work is farcical.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264978">
    <dcterms:title><![CDATA[The Iconography of Chaucer in Hoccleve&#039;s &#039;De Regimine Principum&#039; and in the &#039;Troilus&#039; Frontispiece]]></dcterms:title>
    <dcterms:description><![CDATA[The Chaucer portraits in Hoccleve and TC are iconographic, not realistic, stressing Chaucer&#039;s role as artist-philosopher and teacher of poets and princes alike.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267882">
    <dcterms:title><![CDATA[The Idea of Cultural Continuity in G. Chaucer&#039;s House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[In HF, the description of Fame&#039;s hall raises questions about the status of classical authors. The poem as a whole reflects &quot;Chaucer&#039;s struggle to find some place  [. . .] for his individual talent in the mainstream of the Western and Mediterranean tradition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267688">
    <dcterms:title><![CDATA[The Idea of Englishness in the Fifteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[There was no growing sense of an English nation until the time of Henry VIII, although there were momentary surges in 1290-1340 and 1410-1420, the latter focused on Chaucer. Language is crucial to nation building, and the process of &quot;accrediting English as a language of choice&quot; in medieval England proceeded &quot;slowly and fitfully.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273011">
    <dcterms:title><![CDATA[The Idea of Feminine Beauty in &#039;Troilus and Criseyde,&#039; or Criseyde&#039;s Eyebrow]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses medieval views of feminine beauty as related to Troilus&#039;s desire and the &quot;ordinariness of Criseyde.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261550">
    <dcterms:title><![CDATA[The Idea of Medieval Literature: New Essays on Chaucer and Medieval Culture in Honor of Donald R. Howard]]></dcterms:title>
    <dcterms:description><![CDATA[A collection of original essays by friends and students of Donald R. Howard--Oliver H. Palmer Professor in the Humanities at Stanford University--who died in 1987 at the age of fifty-nine.<br />
For individual essays that pertain to Chaucer, search for Idea of Medieval Literature under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272436">
    <dcterms:title><![CDATA[The Idea of Public Poetry in Lydgatean Religious Verse: Authority and the Common Voice in Devotional Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Looks at the public aspect of devotional poetry, referring to Chaucer and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275225">
    <dcterms:title><![CDATA[The Idea of Public Poetry in the Reign of Richard II.]]></dcterms:title>
    <dcterms:description><![CDATA[Defines and describes the social and rhetorical emphases that characterize the persona and poetic &quot;common voice&quot; of late-medieval English &quot;public poetry,&quot; exemplified here most extensively in analyses of Langland&#039;s &quot;Piers Plowman&quot; and Gower&#039;s &quot;Confessio Amantis,&quot; but cast into relief by Chaucer&#039;s practices in CT, especially in MLT, FranT, and Mel. The voice is &quot;common&quot; insofar as it is &quot;vernacular, practical, worldly, plain, public-spirited, and peace-loving&quot; (96) speaking to their &quot;audience&#039;s best and most actively responsible selves as members of the human community&quot; (109).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261886">
    <dcterms:title><![CDATA[The Idea of the &quot;Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Although CT is unfinished, it is aesthetically complete.  The GP is structured to reveal typifying groups.  The tales are ordered into thematic clusters.  The ParsT provides a satisfying closure.  The structure of the poem is the interlace or labyrinth so characteristic of medieval art and architecture.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263399">
    <dcterms:title><![CDATA[The Idea of the Book in the Middle Ages: Language Theory, Mythology, and Fiction]]></dcterms:title>
    <dcterms:description><![CDATA[Using insights of Levi-Strauss, Foucault, Barthes, and Derrida, and treating the history of textuality from Augustine to Chaucer, Gellrich examines the relationship of literature to other medieval cultural forms that are often expressed in the metaphor of the book.  He sees parallels between the book or the text and architecture, scholasticism, music, etc.]]></dcterms:description>
    <dcterms:description><![CDATA[In Chapter 5, &quot;The Origin of Language Reconsidered: Chaucer&#039;s House of Fame&quot; (pp. 167-201), Gellrich examines the conflict in Chaucer&#039;s sources to illustrate the ambiguous nature of fame, Chaucer&#039;s indeterminacy, and transcendence through faith.  HF counterfeits both learning and colloquialism and is an experiment in &quot;structure, authority, and determinacy of meaning.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Chapter 6, &quot;Problems of Misreading: The &#039;Prologue&#039; to the &#039;Legend of Good Women&#039;&quot; (pp. 202-23) examines the games Chaucer plays on the finges of LGW and the question of the indeterminacy of &quot;soth,&quot; &quot;fals,&quot; and reader response.  LGWP develops the disjunction between &quot;the God of Love&#039;s demands on the poet and their fulfillment.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[In Chapter 7 (pp. 224-47), &quot;Interpreting the &#039;Naked Text&#039; in the General Prologue to &quot;The Canterbury Tales,&quot; Gellrich argues that Chaucer questions the nature of poetic structure by not completing CT.  Concentrating on GP, Gellrich treats issues of structure, voice, persona, irony, order, sequence,and closure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262279">
    <dcterms:title><![CDATA[The Idea of the Labyrinth from Classical Antiquity Through the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Considers models, taxonomy, metaphor, etymologies, and verbal implications of the labyrinth; mazes in medieval art and architecture; moral labyrinths; and textual labyrinths in medieval literature.  Examines Chaucer&#039;s use of the labyrinth in BD, CT, GP, HF, KnT, LGW, MLT, ParsT, PrT, SNT,Bo, and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267107">
    <dcterms:title><![CDATA[The Idea of the Vernacular: An Anthology of Middle English Literary Theory, 1280-1520.]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes fifty-seven excerpts from works written in Middle English, most of them prologues, documenting the nature and history of &quot;Middle English literary theory,&quot; i.e., the &quot;sophisticated and still-influential traditions of theorizing . . . about hermeneutics and rhetoric . . . pedagogy and literacy, language, linguistics, and textuality, historiography, fiction, genre, translation and much else.&quot; Accompanied by introductions, notes, glosses, and commentary, the excerpts are arranged in three groups: &quot;Authorizing Text and Writer&quot; (includes the &quot;Envoie.&quot; to Ven, pp. 26-28 ), &quot;Addressing and Positioning the Audience,&quot; and &quot;Models and Images of the Reading Process.&quot; The volume includes a comprehensive index with many references to Chaucer, a glossary of the terminology of literary theory, and five essays on vernacularization. For two essays that pertain to Chaucer, search for The Idea of the Vernacular under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263964">
    <dcterms:title><![CDATA[The Ideal and the Actual: The Philosophical Unity of Canterbury Tales, MS. Group III]]></dcterms:title>
    <dcterms:description><![CDATA[WBT, FrT, and SumT exhibit a thematic unity through common concern of &quot;championing one...of two antithetical ways of perceiving the world.&quot;  Wife and Summoner tell tales from an Aristotelian perspective, the Friar from a Platonic perspective.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264237">
    <dcterms:title><![CDATA[The Ideal of Feminine Beauty: A Comparative Note]]></dcterms:title>
    <dcterms:description><![CDATA[A comparison of the medieval descriptions of idealized feminine beauty with depiction of women in medieval and modern Japanese literature points up characteristic Japanese aesthetics and philosophy of beauty.]]></dcterms:description>
    <dcterms:description><![CDATA[In English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263134">
    <dcterms:title><![CDATA[The Ideals and Practice of Medieval Knighthood: Papers from the First and Second Strawberry Hill Conferences: 1983, 1984]]></dcterms:title>
    <dcterms:description><![CDATA[Eleven essays by various hands.  For two essays that pertain to Chaucer, search for Ideals and Practice of Medieval Knighthood under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273663">
    <dcterms:title><![CDATA[The Ideas of  &quot;Entente&quot; and Translation in Chaucer&#039;s &quot;Second Nun&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the imagery, action, and word-plays of SNPT to show that they are &quot;concerned with the interplay&quot; between the dark, mundane world and the bright heavenly one. In their &quot;werk,&quot; both the Second Nun and Cecilia help others to achieve &quot;their full &#039;entente&#039; and to be translated&quot; from this world to the next, the latter a world that Almachius fails to perceive. The paired themes anticipate CYPT and are fittingly located near the end of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268992">
    <dcterms:title><![CDATA[The Identification and Use of Authorial Variants in the Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Selection from among variant readings should be based on both literary judgment and variant distribution. In the case of MilT, the richest readings are likely to be Chaucer&#039;s own. Analysis of them leads to greater appreciation of MilT, &quot;of the processes that shaped the tale,&quot; and &quot;of what is distinctive about Chaucer.&quot; Robinson examines sets of variants in MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268892">
    <dcterms:title><![CDATA[The Identification of Exemplar Change in the Wife of Bath&#039;s Prologue Using the Maximum Chi-Squared Method]]></dcterms:title>
    <dcterms:description><![CDATA[Uses a statistical technique derived from DNA research to reexamine the possibility of examplar changes in the copying of WBP. Results agree with earlier studies, indicating the usefulness of this method.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268072">
    <dcterms:title><![CDATA[The Idol of the Text]]></dcterms:title>
    <dcterms:description><![CDATA[For Chaucer and other medieval writers, &quot;the figure of the idol is a means of focusing on problematic aspects of imaginative textuality and its contexts&quot; (44). The sculptures in HF and Lollius in TC are partially represented or broken figures of disrupted textuality. In PF, frozen idols &quot;emblematize&quot; the sterility of courtly love, and the sterile Pardoner embodies idolatry itself. Zeeman also discusses works by Macrobius, Alain de Lille, and Jean de Meun.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273992">
    <dcterms:title><![CDATA[The Illuminators of the Hooked-g Scribe(s) and the Production of Middle English Literature, c. 1460--c. 1490.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the border illustrations and other codicological features of twelve manuscripts of the hooked-g group of manuscripts (including three CT manuscripts), using them to construct a &quot;tentative chronology&quot; of the dates of production and the &quot;relative status&quot; of the scribes involved. Includes nine b&amp;w illustrations, two tables of illustrative features, a table of manuscript shelf-marks, and an appendix of hooked-g manuscripts, distinguished by illustrator.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264002">
    <dcterms:title><![CDATA[The Illusion of Morality in &#039;The Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer does not equate with his own morality that of the Franklin, who does not understand the issues he has raised.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264788">
    <dcterms:title><![CDATA[The Illustrated Eighteenth-Century Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Two sets of Chaucer illustrations altered the late eighteenth-century and early Romantic readers&#039; perception of Chaucer: George Vertue&#039;s for Urry&#039;s edition (1721), and Thomas Stothard&#039;s for Bell (1782-83).  Stothard&#039;s illustrations were later developed into his large &quot;cabinet picture,&quot; &quot;The Procession of Chaucer&#039;s Pilgrims,&quot; engravings of which had wide sale and popularity far greater than William Blake&#039;s Chaucer work. Blake rejected the Roman-type editions of Tyrwhitt and Urry and returned to the black-letter of Speght (1687) for quotations in his &quot;Advertisement&quot; for Chaucer engravings (1809-12).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267770">
    <dcterms:title><![CDATA[The Image of Chaucer&#039;s Knight]]></dcterms:title>
    <dcterms:description><![CDATA[The GP description of the Knight suggests that he wore clothing and equipment typical of &quot;military opportunism.&quot; More specifically, the Knight&#039;s dress and career call to mind Sir John Hawkwood, and changes to the Ellesmere portrait of the Knight may have been made to disguise the likeness to Hawkwood.]]></dcterms:description>
</rdf:Description></rdf:RDF>