<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/265635">
    <dcterms:title><![CDATA[The Lover&#039;s Cure in Ovid&#039;s &#039;Remedia Amoris&#039; and Chaucer&#039;s &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Edward Schweitzer has linked the scene of Absolon&#039;s kissing the &quot;naked ers&quot; with medieval medical cures of lovesickness. However, the episode may also draw on Ovid&#039;s proposal in &quot;Remedia Amoris&quot; that desperate lovers may be cured by witnessing the naked bodies and excretory functions of women.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261776">
    <dcterms:title><![CDATA[The Lover&#039;s Gaze in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Troilus and Criseyde fall in love through looking, here analyzed through medieval optical science, as a literary convention, and as a gendered social taboo.  Stanbury contrasts the activity, passivity, and willfulness of Criseyde&#039;s gaze with that of Troilus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263603">
    <dcterms:title><![CDATA[The Lovers&#039; Swoons in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s changes from Boccaccio&#039;s &#039;Il Filostrato&#039; in the swoon scenes develop the characterization of the three participants, adding comedy and reflecting medical treatments of the swoon.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267591">
    <dcterms:title><![CDATA[The Lowly Paraf : Transmitting Manuscript Design in The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Documents the features of ordinatio in the ten &quot;landmark&quot; manuscripts of CT, grouping the patterns as &quot;dense&quot; (Hengwrt/Ellesmere and related manuscripts) and &quot;sparse&quot; (Oxford, Corpus Christi College, MS 198, and related manuscripts), focusing on the incidence of parafs and tabulating data for KnT, MilT, WBP, and SqT. Dense ordinatio is typical of manuscripts of the &quot;vernacular encyclopedia model,&quot; such as decorated copies of Gower&#039;s Confessio Amantis and Langland&#039;s Piers Plowman, while sparse ordinatio typifies manuscripts of Middle English romances. Considers how the two kinds of ordinatio were transmitted and analyzes how they may affect reading and reflect the habits and agendas of scribes. Includes 5 tables.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267833">
    <dcterms:title><![CDATA[The Luxury of Gender : Piers Plowman B.9 and The Merchant&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Baker and Morrison read MerT as a &quot;sustained response&quot; to Piers Plowman B.9. Both works are concerned with marriage, gender, and the pursuits of appetite. Whereas MerT poses a woman who must live expediently, Piers Plowman absorbs gender into &quot;greater, more cosmic concerns.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266912">
    <dcterms:title><![CDATA[The Luxury of Gender: Piers Plowman and The Merchant&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[MerT is a direct response to passus 9 of the B version of Piers Plowman, presenting an &quot;unkyndely similitude&quot; of marriage in contrast to the ideal expressed in Langland&#039;s poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272880">
    <dcterms:title><![CDATA[The Lyf So Short--Studies in Chaucer&#039;s Dream Visions]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how in BD, HF, and PF &quot;Chaucer concretizes abstractions, turning ideas into poetic form.&quot; The poems are &quot;artistic recreations of medieval literary and philosophical commonplaces about life.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263928">
    <dcterms:title><![CDATA[The Lyfe of Ipomydon]]></dcterms:title>
    <dcterms:description><![CDATA[Vol. 1:  Text and Introduction.]]></dcterms:description>
    <dcterms:description><![CDATA[Commentary and glossary will follow in vol. 2.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271580">
    <dcterms:title><![CDATA[The Lyric in England, 1200-1400]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Chaucer&#039;s lyric poetry as an important bridge or &quot;hinge&quot; between the medieval lyric poem and its modern successors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266104">
    <dcterms:title><![CDATA[The Lyric Planet: Chaucer&#039;s Construction of Subjectivity in the &#039;Complaint of Mars&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The multiple voices in &quot;Complaint of Mars&quot; mask the identity of the real lyric subject.  An examination of these voices reveals that the real lyric subject is the reader, who discovers that he or she is not, like Mars, an autonomous self.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264960">
    <dcterms:title><![CDATA[The Lyrics]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s lyrics, usually written in imitation of the current French forms of ballades and rondels, were, in fact, his most influential legacy to the fifteenth-century Chaucerians.  Chaucer may have written his early poetry (now lost or unattributed) in French.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted from the first (1968) edition, with updated bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265215">
    <dcterms:title><![CDATA[The Lyrics in Chaucer&#039;s Longer Poems]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the lyrics embedded in BD, LGWP, PF, and TC, considering their functions in context and the extent to which textual and codicological evidence can clarify the process of their incorporation.  Contrasts these lyrics with French models in Machaut and Froissart, indicating the relatively limited information we have about Chaucer&#039;s practice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275027">
    <dcterms:title><![CDATA[The Machaut Map: Geoffrey Chaucer, Christine de Pizan, the Diegetic Self, and Pre-Renaissance Individualism in Northern Europe.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the development of &quot;poetic self-assertions&quot; and &quot;authorship poetics&quot; in late medieval poetry, concentrating on Guillaume de Machaut&#039;s influence on Chaucer in LGWP and on Christine de Pizan. Comments on the legacies of Dante, Petrarch, and others, and explores the functions of literary personae; mirror imagery and mise en abîme effects; patronage; political contexts; books as objects; and private reading in the growth of the &quot;cultural capital&quot; of the poetic self, an aspect of rising humanism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277287">
    <dcterms:title><![CDATA[The Magic of &quot;In Principio.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Connects the use of &quot;In principio&quot; in the GP description of the Friar (1.254) with WBP 3.857-81, citing evidence from a wide array of material to show that the phrase, derived from the Gospel of John, evokes a &quot;well-known apotropaic formula&quot; associated with exorcism and divination.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263505">
    <dcterms:title><![CDATA[The Magic of Machinery: A Context for Chaucer&#039;s &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Braswell surveys the mechanical devices in late-medieval culture and traces their origins in Continental and Arabic lands.  She asserts that Chaucer was knowledgeable about machinery and its prevalence and that the magic tricks in FranT correspond to such contemporary automates.  She speculates that the tale might have been performed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274420">
    <dcterms:title><![CDATA[The Magna Mater Archetype in &quot;The Pardoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the &quot;Great Mother&quot; archetype in PardT 6.729-31, helping to explain the &quot;primal force&quot; of the Old Man in the Tale, his womb / tomb affiliations with the young tavern boy, and the &quot;Tale&#039;s central image of the tree&quot; as &quot;ambivalent mother.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277650">
    <dcterms:title><![CDATA[The Major Poets: English and American.]]></dcterms:title>
    <dcterms:description><![CDATA[Chronological anthology of English and American poetry, beginning with selections from Chaucer (Truth, Gent, GP 1-30, and NPT), with bottom-of-page glosses and notes. Text from F. N. Robinson&#039;s edition; preceded by a brief &quot;Note on Reading Chaucer&#039;s English.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272965">
    <dcterms:title><![CDATA[The Major Poets: English and American. 2nd edition]]></dcterms:title>
    <dcterms:description><![CDATA[Begins with a selection from Chaucer (pp. [i], 1-23) which includes Truth, Gent, GP 1-34 and 1.118-62 (Prioress), and NPT, accompanied by notes and glosses, and preceded by advice on Chaucer&#039;s English. Originally edited by Coffin in 1954.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261918">
    <dcterms:title><![CDATA[The Making of a Fourteenth-Century Sergeant of the Lawe]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the relations between the sketch of the Sergeant of the Law in GP and historical evidence of contemporary members of the &quot;Order of the Coif.&quot;  Surveys the nature, activities, garb, and affiliations of fourteenth-century legal sergeants, observing that Chaucer&#039;s sketch reflects most of them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267183">
    <dcterms:title><![CDATA[The Making of Chaucer&#039;s English : A Study of Words]]></dcterms:title>
    <dcterms:description><![CDATA[Historical analysis of Chaucer&#039;s complete lexicon, arguing that his English is traditional rather than innovative. Chaucer naturalizes French and Latin words in ways similar to those of his English predecessors, often fusing foreign and native forms. Despite the &quot;developmental hermeneutic&quot; that has been assumed by scholars, Chaucer&#039;s lexical habits do not evolve significantly throughout his career. Instead, Chaucer uses the inventiveness inherent in traditional English to create the illusion of his own novelty. The success of this artful illusion underlies a &quot;myth of origins&quot; that produced-and continues to reinforce-the notion that he was unusually innovative. Includes an index of 9,117 &quot;Words Studied,&quot; indicating their MED/OED citation, etymology, first-known uses, first uses in Chaucer, and frequency in Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265485">
    <dcterms:title><![CDATA[The Making of Chaucer&#039;s English: A Study in the Formation of a Literary Language]]></dcterms:title>
    <dcterms:description><![CDATA[Though hailed as an innovator by his successors and subsequent critics, Chaucer adapted existing traditions in innovative ways.  &quot;Colloquial&quot; and &quot;aureate&quot; styles had already been developed in English, but he juxtaposed them.  He was less the inventor of literary English than a brilliant figure in its tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267117">
    <dcterms:title><![CDATA[The Making of Middle English, 1765-1910]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the roots and development of Middle English studies as a reflection of antiquarian and nationalistic impulses. Traces the growth of English medievalism from Bishop Thomas Percy to Frederick Furnivall and focuses on the impact of individual scholars, literary societies, and the material history of Middle English--editions, commentaries, membership records of societies, etc. Considers the politics of editing, canon formation, philological periodization, and related issues, discussing in detail the reception of Chaucer and the activities of the Chaucer Society. Usually treated separately from other Middle English literature, which was thought barbarous, the works of Chaucer were consistently regarded highly for their perceived modernism, morality, or Englishness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267527">
    <dcterms:title><![CDATA[The Making of the English Literary Canon : From the Middle Ages to the Late Eighteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Describes development of the English literary canon in light of two parallel developments or &quot;epistemological shifts&quot;: the development from a &quot;rhetorical&quot; to a &quot;modern &#039;objectivist&#039; culture&quot; and the shift from an idea of &quot;canonicity based on production&quot; to &quot;canonicity based on consumption.&quot; In a discussion of &quot;Early Gestures&quot; toward canon formation (beginning with &quot;Widsith&quot;), Ross discusses Chaucer&#039;s claims to poetic identity in HF, TC, Ret, and elsewhere. He then records passim the reception and status of Chaucer in the development of the English canon up to the Romantics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275911">
    <dcterms:title><![CDATA[The Malins in Chaucer&#039;s Ipswich Ancestry.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the traditional &quot;misleading&quot; explanation of a Chaucer life-record, particularly the uses of the name Malin/a, reopening &quot;the question of the Malin branch of Chaucer&#039;s ancestry.&quot; Observes that the name is used in RvT]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261748">
    <dcterms:title><![CDATA[The Man in Black, Machaut&#039;s Knight, and Their Ladies]]></dcterms:title>
    <dcterms:description><![CDATA[Unlike Machaut&#039;s knight, Chaucer&#039;s Black Knight, when describing his lady, shifts his attention from her outward appearance to her inner nature, as if he gradually comes to realize her value to him--a realization that helps him cope with her death.]]></dcterms:description>
</rdf:Description></rdf:RDF>