<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/272554">
    <dcterms:title><![CDATA[The Influence of the Saint&#039;s Legend Genre in the &#039;Man of Law&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows how Chaucer&#039;s changes to Nicholas Trevet&#039;s version of the Constance narrative are influenced by the conventions of hagiography, including a tendency to allegory and heightened rhetoric. Assesses MLT as melodrama.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263597">
    <dcterms:title><![CDATA[The Influence of Trevet on Boethian Language and Thought in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In his most Boethian poem, Chaucer relies heavily on Nicholas Trevet&#039;s &quot;Commentary&quot; on the Consolation of Philosophy, even versifying one of Trevet&#039;s glosses and adopting his Aristotelian interpretation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270238">
    <dcterms:title><![CDATA[The Influences of Shakespeare&#039;s Sources on the Dramaturgy of &#039;Troilus and Cressida&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores problems in &quot;Troilus and Cressida&quot; in light of Shakespeare&#039;s uses of his sources, including TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275766">
    <dcterms:title><![CDATA[The Inhibited and Uninhibited: Ironic Structure in the &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the diction and imagery of MilT, focusing on oral and olfactory instances for the ways that they ironically anticipate details of the plot, particularly the misdirected kiss received by Absolon and colter-burn he directs at Nicholas.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274973">
    <dcterms:title><![CDATA[The Injuries of Time: Geoffrey Chaucer, Thomas Speght and Wade&#039;s Boat.]]></dcterms:title>
    <dcterms:description><![CDATA[Interrogates features of the reception of Chaucer from Thomas Speght&#039;s editions of 1598 and 1602 to twentieth-first century criticism, focusing on the poet&#039;s reference to Wade and his boat in MerT 4.1423-26. Discloses the critical legacy of the &quot;cultural repression&quot; of a &quot;form of women&#039;s knowledge&quot; in the commentary on the passage, particularly Speght&#039;s annotation and later scholarly and medievalist discussions that either infer once-known lost narratives or are in the &quot;tradition of imaginative etymologizing.&quot;  ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261270">
    <dcterms:title><![CDATA[The Inn, the Cathedral, and the Pilgrimage of The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Mikhail Bakhtin&#039;s distinction between &quot;carnivalesque abandon and lenten mortification&quot; and Victor Turner&#039;s distinction between liminality and &quot;communitas&quot; illuminate the dual nature of the pilgrimage--or of the material and the spiritual, the innkeeper and the Parson, and the Inn and the Cathedral; however, the Pardoner&#039;s complete rejection of both unites the two polarities to suggest that CT &quot;is an emphatic reconciliation of the Inn and the Cathedral, which are united in the idea of pilgrimage.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276016">
    <dcterms:title><![CDATA[The Innkeeper and the Miller: Common Folk in Chaucer and Tolkien.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys evidence for the influence of Chaucer on Tolkien and adds comments on his impact on Tolkien&#039;s &quot;&quot;scenes of common life in the inns and in the figures of the innkeeper and the miller.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272433">
    <dcterms:title><![CDATA[The Innocence of Medieval Objects?]]></dcterms:title>
    <dcterms:description><![CDATA[Reflects on the term &quot;object&quot; in relation to whether it means a manuscript, circulating text, or real object; includes recurrent references to Chaucer and Chaucer scholarship.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271652">
    <dcterms:title><![CDATA[The Insomniac Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; described in an online review by Joy Calderwood (http://www.reviewers-choice.com/the_insomniac_tales.htm) as thirteen &quot;Chick Lit&quot; short stories by various women writers in imitation of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264976">
    <dcterms:title><![CDATA[The Intended Illustrations in MS. Corpus Christi 61 of Chaucer&#039;s &#039;Troylus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The spaces left for illustrations in this ms, when correlated with the text immediately surrounding them, can rather easily be mentally completed with illustrations of the action of TC or with portrayals of court scenes of the readings of the poem similar to the ms&#039;s frontispiece.  The total spaces are as follows:  6 initials, 2 explicit-incipit breaks, and 93 textual spaces, often at regular intervals.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267295">
    <dcterms:title><![CDATA[The Interior Decoration of His Mind : Exegesis in The House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the relationships between (mis)reading and (mis)writing, exegesis, and the unconscious in HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271610">
    <dcterms:title><![CDATA[The Interludes of the Marriage Group in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the structure of the so-called marriage group, focusing on how the pairings of FrT and SumT and MerT and SqT contribute to the sense of dramatic climax fulfilled in FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262088">
    <dcterms:title><![CDATA[The Interplay of Genres in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Though read as tragedy, comedy or satire, TC can be understood as &quot;compilatio&quot; or Bakhtinian &quot;polyglossa.&quot;  With Boccaccio&#039;s plot of tragic love, Chaucer incorporates a subtext of Boethian philosophy (as treated by Jean de Meun) and allusions to Dante.  Chaucer follows Ockham in showing experience as transcending human constructs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269872">
    <dcterms:title><![CDATA[The Interplay of Past and Present in Dryden&#039;s &#039;Palamon and Arcite&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Hammond compares and contrasts Dryden&#039;s &quot;Palamon and Arcite&quot; from  his &quot;Fables Ancient and Modern&quot; with its source, Chaucer&#039;s  KnT, finding that Dryden reworked religious and political concerns to create a &quot;macaronic fabric&quot; that combines classical,  medieval, and Restoration motifs in an idealized whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264038">
    <dcterms:title><![CDATA[The Interpretation of Chaucer&#039;s Alcyone]]></dcterms:title>
    <dcterms:description><![CDATA[Exegetical criticism of Alcyone in BD misleads since it neglects the traditional significance of Alcyone (as in Petrarch and Boccaccio).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267143">
    <dcterms:title><![CDATA[The Interpretation of Dreams : Chaucer&#039;s Early Poems, Literary Criticism and Literary Theory]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses criticism of Chaucer&#039;s dream visions and lyrics for how it has &quot;predicted&quot; the present state of Chaucer scholarship and as a &quot;test case&quot; for various critical approaches. Issues include the subject and subjectivity; resistance to new critical approaches; and adaptability to historicist, feminist, and psychoanalytic approaches.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269162">
    <dcterms:title><![CDATA[The Interpretation of Troilus and Criseyde 3.587: &#039;syn I moste on yow triste&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Nakao assesses Criseyde&#039;s comment on trusting Pandarus (TC 3.587) as ambiguous, considering &quot;phonological, morphological, lexical/collocational, syntactic and pragmatic&quot; aspects of Chaucer&#039;s use of &quot;moste&quot; as an auxiliary and an adverb.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268106">
    <dcterms:title><![CDATA[The Interpretive Marketplace in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Sheridan explores ways that language is like money in acts of interpretation, examining the role of the Host in CT, readers&#039; valuations of various tales, patronage and interpretive control, and the &quot;mercantile&quot; strategies of May (MerT) and the Wife of Bath.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273490">
    <dcterms:title><![CDATA[The Interruption of the &quot;Squire&#039;s Tale&quot;: The Disillusionment of Wonder in the &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the medieval notion of wonder helps to explain the Franklin&#039;s interruption of SqT.The Squire presents the marvels in his tale as explainable in scientific terms, in accord with the philosophical notion of wonder. The Franklin similarly intends to reframe romance marvels in scientific terms and does not want the Squire to forestall him. In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265516">
    <dcterms:title><![CDATA[The Intertextual Cressida: Chaucer&#039;s Henryson or Henryson&#039;s Chaucer?]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s moral judgment of Troilus may be uncertain, and his judgment of Criseyde is definitely uncertain.  Readers have attempted to clarify these judgments by appeals outside the text to law and theology; however, reading Henryson&#039;s &quot;Testament&quot; as a continuation of Chaucer with close attention to the intertextual connections makes clear that both Troilus and Criseyde are ameliorated.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264171">
    <dcterms:title><![CDATA[The Introspective and Egocentric Quests of Character and Audience: Modes of Self-Definition in the York Corpus Christi Cycle and in Chaucer&#039;s &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Certain fourteenth-century works (the York plays, &quot;Confessio Amantis,&quot; &quot;Piers Plowman,&quot; CYT) function by placing inadequate characters in crisis situations.  The audience learns from their limited reactions.  Most complex is MerT:  the narrator&#039;s distorted vision clashes with January&#039;s &quot;conversion&quot; to force readers into thoughtful response.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275694">
    <dcterms:title><![CDATA[The Invention and Reinvention of the Middle Ages: Writers, Readers, and the Composition of Text.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how genre conventions and expectations vary between the Middle Ages and the nineteenth century and produce different views of history. Includes discussion of BD and KnT for the ways that Chaucer reshapes their conventional genres (dream vision and romance respectively), which are later reshaped by William Morris in &quot;A Dream of John Ball&quot; and &quot;News from Nowhere.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273454">
    <dcterms:title><![CDATA[The Invention of Fire.]]></dcterms:title>
    <dcterms:description><![CDATA[Historical novel set in London, Kent, Calais, and during a pilgrimage to Durham, 1386; the second in a series that features John Gower as first-person narrator investigating criminal and political events, in this case a mass murder that involves parliamentary machinations, Nicholas Brembre&#039;s mayoralty, and the development of handguns. Includes a range of characters both historical and fictional, with Chaucer in his role as &quot;shire justice in Kent&quot; and as Gower&#039;s shrewd friend and literary competitor.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271506">
    <dcterms:title><![CDATA[The Invention of Goodness: Literary Ethics and Tropological Imagination in Late-Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of Rita Copeland&#039;s representation of Chaucer as an author intending to supersede previous texts; where Chaucer would supplant classical texts, Langland is presented as attempting to conserve and extend scriptural/liturgical texts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267467">
    <dcterms:title><![CDATA[The Invention of Middle English : An Anthology of Primary Sources]]></dcterms:title>
    <dcterms:description><![CDATA[Collects excerpts documenting how &quot;the modern study of Middle English became the way it is.&quot; Thirteen excerpts discuss language, from George Hickes (1642-1715) to James A. H. Murray (1837-1915), and nineteen consider literary criticism and commentary, from Thomas Hearne (1678-1735) to Walter Willam Skeat (1835-1911). The excerpts are preceded by brief descriptions of their authors&#039; careers and impact; the excerpts include modern notes.]]></dcterms:description>
</rdf:Description></rdf:RDF>