<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/266470">
    <dcterms:title><![CDATA[The Image of Nature in Literature, the Media, and Society: Selected Papers, 1993 Conference, Society for the Interdisciplinary Study of Social Imagery, March 11-13, 1993, Colorado Springs, Colorado]]></dcterms:title>
    <dcterms:description><![CDATA[Fifty-seven essays on a variety of topics. For essays that pertain to Chaucer, search for Image of Nature in Literature, the Media, and Society under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271630">
    <dcterms:title><![CDATA[The Image of Paradise in the &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines various evocations of paradise as a garden in MerT as parodic inversions of Christian understanding of the scene of the Fall.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276723">
    <dcterms:title><![CDATA[The Image of Pluto and Proserpine in the &quot;Merchant&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies parallels between the characterizations of January and May in MerT and those of Pluto and Proserpine in Claudian&#039;s &quot;De Raptu Proserpinae.&quot; Anticipating the role of the fairy deities in Chaucer&#039;s Pear-Tree episode, Claudian&#039;s &quot;myth of Proserpine&quot; may also have influenced their &quot;beneficent&quot; role of the supernatural characters in the episode. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261756">
    <dcterms:title><![CDATA[The Image of the Blind Cupid in Dream-Vision Poems in the Late Fourteenth, Fifteenth, and Early Sixteenth Centuries in England]]></dcterms:title>
    <dcterms:description><![CDATA[From Ovid, the blind Cupid connoted erotic love to mythographers, French poets, and eventually Chaucer (HF), Clanvowe, Lydgate, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268066">
    <dcterms:title><![CDATA[The Image of the Church Minister in Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Chronological survey of representative depictions of church ministers in a variety of works, from Chaucer to Morris West, briefly considering works by Shakespeare, Trollope, John Henry Newman, George Eliot, Ibsen, Edmund Gosse, Joyce, Graham Greene, F. Scott Fitzgerald, and Emerson. Heidt notes that Chaucer&#039;s Monk, Friar, Pardoner, Summoner, and Parson (pp. 7-28) anticipate the Reformation and later literary ministers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261744">
    <dcterms:title><![CDATA[The Image of the Devil&#039;s Five Fingers in the South English Legendary&#039;s St. Michael and in Chaucer&#039;s Parson&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[In &quot;St. Michael,&quot; the image of the Devil&#039;s five fingers is a homiletic, mnemonic device to convey a lesson on sin.  Chaucer&#039;s version in ParsT has a clear literary quality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265269">
    <dcterms:title><![CDATA[The Image of the Goddess Venus in its Medieval Context]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys presentations of Venus in medieval letters, including mention of the figure in WBP, TC, KnT, and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277429">
    <dcterms:title><![CDATA[The Image of the Tapster in England and Bohemia.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides context for the link between death and the tapping of a barrel  in RvP, 3892-94, and for the relationship between the Pardoner and Kit the Tapster in the prologue to the &quot;Tale of Beryn,&quot; mentioning other English analogues and describing contemporaneous visual analogues (especially wall-painting) from Bohemia and nearby central European countries.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264630">
    <dcterms:title><![CDATA[The Imagery of Fortune and Religion in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In developing the theme that Troilus values too highly love and beauty in this world, Chaucer throughout TC intertwines imagery of Fortune and of religion to describe Troilus&#039; experiences and to characterize Criseyde.  Although the depiction of Criseyde is psychologically credible, it also has important figurative implications, for she is linked to intricate image patterns of circularity and turning wheels which are usually associated with Fortune.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261597">
    <dcterms:title><![CDATA[The Imagery of the City of Thebes in &#039;The Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Building on medieval conventions in which the city was a metaphor for the human condition, Thebes--known for fratricide and civil war--symbolizes disorder and chaos.  Theseus, especially through his subjugation of the queen of the lawless and violent Amazons, is the &quot;homo novus&quot; who represents law and order and vindicates the code of chivalry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274145">
    <dcterms:title><![CDATA[The Images of Medieval Old Man as Portrayed in Chaucer&#039;s &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses medieval concepts of aging and Chaucer&#039;s depictions of old men in CT. Claims that Chaucer displays a balanced attitude in his depictions of old men, which differs from how medieval society tended to view the elderly in a negative light.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267850">
    <dcterms:title><![CDATA[The Imaginary Society: Women in 1381]]></dcterms:title>
    <dcterms:description><![CDATA[Documents evidence of women&#039;s participation in the uprising of 1381, considering judicial records, chronicles by Henry Knighton and Thomas Walsingham, and poetic depictions by Chaucer and Gower. In the chase scene of NPT, Chaucer depicts women as &quot;the justified, even sympathetic leaders of a community&#039;s protest against theft.&quot; In &quot;Vox Clamantis,&quot; Gower presents Coppa the hen as a &quot;discursively riotous woman&quot; who is the &quot;instigator of rebellious deeds.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268489">
    <dcterms:title><![CDATA[The Imagined Chaucerian Community of Bodleian MS Fairfax 16]]></dcterms:title>
    <dcterms:description><![CDATA[The treatment of Cupid in the various works of Bodleian MS Fairfax 16 reveals a cultural transition from the Gallic tradition of the supremacy of love-and from the Latinate tradition of the supremacy of religion-to a new English poetic tradition. This new tradition appeals specifically to a community of men, both educated and uneducated, as sufferers in the tradition and writers of the genre. Tinkle includes discussion of LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270708">
    <dcterms:title><![CDATA[The Impersonal and Personal Constructions in the Language of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Tabulates features of impersonal usage in Chaucer, Gower, and Langland, using a variety of verbs and commenting on the conditions of usage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269773">
    <dcterms:title><![CDATA[The Impersonal Verb &#039;Listen&#039; in Chaucer&#039;s Works: Implications of Its Textual Distribution]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the distribution of Chaucer&#039;s impersonal verb &quot;listen&quot; (to be pleasing), focusing on disparities  between distributions in prose and verse, usage in formulaic expressions, and transition from impersonal to personal usage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270675">
    <dcterms:title><![CDATA[The Impetus of Amateur Scholarship: Discussing and Editing Medieval Romances in Late-Eighteenth [sic] and Nineteenth-Century Britain]]></dcterms:title>
    <dcterms:description><![CDATA[Tracing the revival of the romance genre, Santini describes in chronological order the work of amateur scholars, editors, and editorial societies that produced editions and commentary on Middle English romances between 1760 and 1860. Comments on the role of Chaucer&#039;s popularity in this revival and on his list of romances in Th.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275526">
    <dcterms:title><![CDATA[The Implausible Plausibility of the &quot;Prologue to the Tale of Beryn.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers possible motives for the &quot;Beryn&quot; scribe to include the &quot;Prologue&quot; and the &quot;Tale of Beryn&quot; in one of the CT mansucripts that he copied, Alnwick Castle, Northumberland, MS 455 (Nl), arguing that he was responding to the &quot;agency of the text,&quot; i.e., to a medieval kind of intentionality attributable to the literary work rather than to its author, theorized by Mary Carruthers. Treats the two &quot;Beryn&quot; works as &quot;non-Chaucerian Chauceriana,&quot; similar in this regard to other spurious links and tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269038">
    <dcterms:title><![CDATA[The Implications of Manuscript Layout in Chaucer&#039;s Tale of Sir Thopas]]></dcterms:title>
    <dcterms:description><![CDATA[Purdie demonstrates that the layout of Th in several key early manuscripts derives from the traditional layout of Middle English tail-rhyme poetry. Chaucer intended to contribute to the Tale&#039;s humor with this arrangement, which reflects his fascination with book culture.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261507">
    <dcterms:title><![CDATA[The Importance of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how Chaucer expanded the boundaries of the English literary idiom.  Chaucer&#039;s innovations capitalize on the rise of a new audience, a class of bureaucrats and businessmen who shared his education at the inns of court and chancery.  Details of his biography help to explain the paucity of Chaucerian manuscripts from his lifetime, and conscious promotion by the Lancastrian faction helps account for the enormity of his impact.]]></dcterms:description>
    <dcterms:description><![CDATA[  His advances include the use of cultivated English to express love as decorum and psychological allegory; the development of mimetic plots and characters; the systematic use of humor, satire, and irony; the extension of courtly poetic manners and religion to humanism and naturalism; and the promotion of himself as an author.  ]]></dcterms:description>
    <dcterms:description><![CDATA[  Includes a survey of critical reception.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267672">
    <dcterms:title><![CDATA[The Importance of Discourse Types in Grammaticalization : The Case of Anon]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the development of &quot;anon&quot; from Middle English to Early Modern English, using evidence drawn from TC and elsewhere. A revised version of chaper two of Brinton&#039;s Pragmatic Markers in English (Berlin and New York: Gruyter, 1996).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262063">
    <dcterms:title><![CDATA[The Importance of Hengwrt : Two Studies]]></dcterms:title>
    <dcterms:description><![CDATA[Examines two instances in which Hengwrt is markedly different from other early manuscripts. The first instance casts doubts on the authenticity of CYP and CYT (not in Hengwrt).  The second suggests that the long form of NPP and those versions in which the Monk&#039;s story of Cresus is last are not Chaucer&#039;s but the work of one or more editors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265221">
    <dcterms:title><![CDATA[The Importance of Importance]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews John H. Fisher&#039;s &quot;The Importance of Chaucer&quot; (Studies in the Age of Chaucer 16 (1994), no. 35); Elaine Tuttle Hansen&#039;s &quot;Chaucer and the FIctions of Gender&quot; (Studies in the Age of Chaucer 16 (1994), no. 90); and the &quot;Cluster on Chaucer&quot; in Publications of the Modern Language Association 107 (1992): 1139-80.  Argues that the works under consideration are implicated in &quot;an attitude of authorial adulation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272813">
    <dcterms:title><![CDATA[The Importance of Keeping &#039;Trouthe&#039; in &#039;The Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Posits that Chaucer arranges matters in FranT to pose the possibility of a &quot;dual response to the subject matter&quot; of &quot;trouthe,&quot; exploring reality and illusion and the competing requirements of conjugal and courtly loves. The Tale illustrates the real-life importance of keeping &quot;trouthe&quot; and the maturation of the characters which results from seeking to maintain it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272305">
    <dcterms:title><![CDATA[The Imposition of Order: A Measure of Art in the Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the artistic development of the Constance story from its roots in the accused queen legend through Trevet&#039;s adaptation, Gower&#039;s version, and MLT, arguing that only in Chaucer does the narrative achieve &quot;comprehensive artistic unity&quot; of characterization, various motifs, verse form, and allegory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264474">
    <dcterms:title><![CDATA[The Inconclusive Form of the &#039;Parliament of Fowls]]></dcterms:title>
    <dcterms:description><![CDATA[Unlike his earlier dream visions, Chaucer&#039;s PF exhibits no structural confusion.  Rather, the poet poses the possibility of variable pluralisms and leaves the poem inconclusive.  The narrator is relatively uninvolved in the action, which permits Chaucer a calmer tone and a more assured, linear progression of events.]]></dcterms:description>
</rdf:Description></rdf:RDF>