<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/264660">
    <dcterms:title><![CDATA[The Meaning of &#039;The House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The narrator of this work, pretending ignorance, is conscious of his position as a poet, and a humorous but skeptical attitude towards utterance.  Like a nominalist, he examines everyday speech, which is only &quot;eyr ybroken,&quot; from the point of view of &quot;appearance&quot; and &quot;existence,&quot; solving their contradiction through the natural reconcilation of &quot;statement&quot; with &quot;deed.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Kanno&#039;s Studies in Chaucer&#039;s Words (Eihosha, 1996), pp. 162-71.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272262">
    <dcterms:title><![CDATA[The Meaning of &#039;Variant Reading&#039; in the Manly-Rickert &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies limitations in the Manly-Rickert &quot;Corpus of Variants&quot; and urges caution in its use, explaining that their use of the term &quot;variant&quot; excludes dialectical variants as well as spelling variants. Regional dialectical variants are especially vexed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276318">
    <dcterms:title><![CDATA[The Meaning of &quot;The Parlement of Foulys.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that PF is &quot;much more critical of human life than has been thought [and] that it finally adopts and orthodox Christian Position.&quot; Explores how the structure, details, and style of the poem undermine the narrator&#039;s views and work &quot;to suggest, to hint, and to disturb and rouse the reader,&quot; communicating ironically the need for Christian community and for the contemptuus mundi articulated in the poem&#039;s opening summary of the &quot;Somnium Scipionis.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272807">
    <dcterms:title><![CDATA[The Meaning of Chaucer&#039;s &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies parallels between the &quot;planetary deities&quot; and the human characters in KnT; describes the &quot;iconology&quot; of Lygurge and Emetreus, particularly the psychological implications of their astrological affiliations; and explores the physiognomic, moral, and psychological differences between Palamon and Arcite, arguing that the poem depicts the Knight&#039;s ideas of order underlying chaos and moral progression to maturity through a series of planetary stages.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263836">
    <dcterms:title><![CDATA[The Meaning of Chaucer&#039;s Minor Poems]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses ABC, Pity, Lady, and Mars in relation to the literary temperament of the poet&#039;s later works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272220">
    <dcterms:title><![CDATA[The Meaning of English Masterpieces]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record indicates that this includes English commentary by Milward on GP (and other works of English literature), with notes in Japanese by Okamoto and Suzuki.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273479">
    <dcterms:title><![CDATA[The Meaning of Middle English &quot;Gent and Smal.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the word pair &quot;gent and smal,&quot; used in the description of Alisoun in MilT, meant &quot;well-built,&quot; with connotations of noble looks and behavior.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264530">
    <dcterms:title><![CDATA[The Meaning of Structure in Chaucerian Narrative]]></dcterms:title>
    <dcterms:description><![CDATA[The categorical proposition, or sentence, is offered as a global model for narrative structure.  The sentence structure, which makes meaning by suggesting the significant similarities between what might have been and what is actually said, takes the topos as its place for drawing the story into line with tradition and for drawing out the important differences between tradition and a particular performance. ]]></dcterms:description>
    <dcterms:description><![CDATA[In KnT, the oppositions which threaten perpetual violence and despair are reduced in the paradigmatic perspective to opposites in alternation rather than in tension.  In NPT, the mechanical intelligence of a beast-like man is the theme and the basis, in part, of its humor.  In BD, the difference between memory and present fact is thematic and the auditor is forced to face grief directly.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269867">
    <dcterms:title><![CDATA[The Meaning of the Pilgrims in The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the impulses to go  on pilgrimage in late medieval England and assesses the GP descriptions of the pilgrims in light of contemporary motivations  for pilgrimage.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese, with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272159">
    <dcterms:title><![CDATA[The Meaning of Troilus&#039; Ascension to the Eighth Sphere]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Troilus&#039; ascent to the eighth sphere (TC 5.1807-27) combines Christian and pagan elements--the classical pagan notion of immortality among the stars transmitted to Chaucer via Alain de Lille, Dante, and Boccaccio, and the Christian numerological associations of the number eight with resurrection and redemption.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263237">
    <dcterms:title><![CDATA[The Meanings of &#039;The Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[At the literal level, Griselda is subservient, loving, obedient, and patient; at the spiritual level, she emulates Christ, while Walter is a servant of God.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273477">
    <dcterms:title><![CDATA[The Meanings of Middle English &quot;Wight.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in CT, &quot;wight&quot; could indeed mean a supernatural being and refer to Jesus Christ as Creator, which questions a long-standing editorial emendation by E. Talbot Donaldson in WBP, 117.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264562">
    <dcterms:title><![CDATA[The Mechanics of Comedy in Chaucer&#039;s &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer achieves maximum concentration on the moment of denouement by organizing his characters into two parallel and static triadic sets.  When the characters are in their triadic configurations, no action takes place.  The resolution of tension by action takes place when the characters are in dyadic relationships.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262256">
    <dcterms:title><![CDATA[The Mediaeval Literary Theory of Satire and Its Relevance to the Works of Gower, Langland, and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Although classical, Renaissance, and modern satire may represent recognizable genres, a definition of medieval satire must be sought through consideration of how classical satirists were studied in medieval schools and how three poets wrote.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264444">
    <dcterms:title><![CDATA[The Mediaeval Notion of Chaucer&#039;s &#039;Manciple&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The focus of ManT is not adultery and murder but rather talebearing.  Chaucer returns to Ovid for janglery as a serious crime.  If janglery causes murder, the janglerer is as guilty as the murderer because he is the cause of the crime.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261751">
    <dcterms:title><![CDATA[The Mediating Vision: Patronage and Literary Tradition in Guillaume de Machaut and Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Both the historical basis for BD and its relation to Machaut&#039;s narratives have posed problems, but the dream-vision form can resolve them.  Whereas Machaut used it to divide himself from his patrons, Chaucer employed it to indicate their &quot;shared mortality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262286">
    <dcterms:title><![CDATA[The Medieval &#039;Apology for Poetry&#039;: Fabulous Narrative and Stories of the Gods]]></dcterms:title>
    <dcterms:description><![CDATA[In ParsP, the Parson vehemently rejects the &quot;lies&quot; of pagan fables, as in the scandalous ManT.  Yet, medieval poets often used &quot;unseemly stories of the gods&quot;--especially stories dealing with love, sex, and immorality--for their own political or moral ends.  Macrobius had rationalized such use, and all educated persons knew the classics.]]></dcterms:description>
    <dcterms:description><![CDATA[Chance reviews commentaries, glosses, and handbooks of medieval &quot;literary critics&quot; and discusses the Latin mythographic tradition used by vernacular poets, including Chaucer.  She reviews scholarship and gives a chronological list of medieval mythographers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264035">
    <dcterms:title><![CDATA[The Medieval &#039;Prosimetrum&#039; Genre from Boethius to &#039;Boece&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer may have used prose alone in his &quot;Boece&quot; for clarity and freedom where two speakers face universal dilemmas.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272243">
    <dcterms:title><![CDATA[The Medieval Anadyomene: A Study of Chaucer&#039;s Mythography]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the iconographical tradition of &quot;Venus-of-the-Seashell&quot; (&quot;Aphrodite Anadyomene&quot;) as background to assessing why Chaucer depicts Venus carrying a citole in KnT (1.1959) and carrying a comb in HF (line 136). Explores the images in Chaucer&#039;s literary sources, patristic commentaries, illuminations in astrological manuscripts, lapidary tradition, mermaids, and other analogous materials.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263296">
    <dcterms:title><![CDATA[The Medieval Art of Imitation and Chaucer&#039;s &#039;Legenda Tesbe&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[LGW&#039;s &quot;Legend of Thisbe&quot; paraphrases Ovid&#039;s story in &quot;Metamorphoses,&quot; pt. 4, according to the rules of classical rhetoric.  Chaucer&#039;s changes in Ovid&#039;s story resemble those of other medieval paraphrasers:  his neutral narrative style is changed to one describing the lovers&#039; illicit passion in a dislocated language of morality and devotion; the resulting tension between story and language ironically reflects on the lovers&#039; moral predicament and behavior.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262583">
    <dcterms:title><![CDATA[The Medieval Boethius: Studies in the Vernacular Translations of &quot;De consolatione philosophiae&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Essays by various hands. For four essays that pertain to Chaucer, search for The Medieval Boethius under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268604">
    <dcterms:title><![CDATA[The Medieval Book and a Modern Collector : Essays in Honour of Toshiyuki Takamiya]]></dcterms:title>
    <dcterms:description><![CDATA[Thirty-eight essays and two commemorations celebrate the sixtieth birthday of Takamiya, focusing on &quot;medieval manuscripts and early printed books, Arthurian literature, and nineteenth- and twentieth-century medievalism.&quot; Many of the essays pertain to volumes in the honoree&#039;s collection. The book includes a bibliography of Takamiya&#039;s publications.]]></dcterms:description>
    <dcterms:description><![CDATA[For seven essays that pertain to Chaucer, search for Medieval Book and a Modern Collector under Alternative Title.]]></dcterms:description>
    <dcterms:date><![CDATA[2004]]></dcterms:date>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277075">
    <dcterms:title><![CDATA[The Medieval Borderline Identities: The Guildsmen in History and in Geoffrey Chaucer&#039;s &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Homi Bhabha&#039;s concepts of borderline community and mimicry (&quot;The Location of Culture&quot; [1994]) to investigate the descriptions of the guildsmen in GP, 361-78, as they relate to shifts and tensions in Chaucer&#039;s contemporary society, focusing on &quot;othering&quot; within traditional hierarchy and on sartorial mimicry. Includes historical and literary information about guildsmen.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272085">
    <dcterms:title><![CDATA[The Medieval Ceyx and Alcyone: Ovid&#039;s &#039;Metamorphoses&#039; XI, 407-750 and Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys criticism that considers the Ceyx and Alcyone story in BD, exegetical readings in particular, and edits a version of the tale found in fourteenth-century Ovidian manuscripts available in Chaucer&#039;s England, with full apparatus and with information about the various commentaries, especially that of Pierre Bersuire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262401">
    <dcterms:title><![CDATA[The Medieval Church and the Patronage of Art]]></dcterms:title>
    <dcterms:description><![CDATA[An essay on ecclesiastical patronage of art in the Middle Ages.]]></dcterms:description>
</rdf:Description></rdf:RDF>