<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/263210">
    <dcterms:title><![CDATA[The Misdirected Kiss and the Lover&#039;s Malady in Chaucer&#039;s &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[MilT and KnT use parallel portrayals of two young men, Absolon and Arcite, who suffer from the malady of false love.  Although Arcite is not cured of his illness, Absolon is, through a traditional cure recorded by several medieval physicians.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263974">
    <dcterms:title><![CDATA[The Misdirected Kisses in the &#039;Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the first misdirected kiss as a regression fantasy, followed by cleanliness neurosis; the second as a homosexual humiliation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270286">
    <dcterms:title><![CDATA[The Mistress-Knowledge: Literary Architectonics in the English Renaissance]]></dcterms:title>
    <dcterms:description><![CDATA[Equates &quot;mistress-knowledge&quot; of Sir Philip Sidney&#039;s &quot;Defence of Poesy&quot; with the &quot;concept of an architectonic . . . usually related  to self-knowledge as an ideal,&quot; traces the concept from classical to Renaissance treatments, and applies the critical notion to poems by Sidney, Spenser, Milton, and Chaucer (HF)]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274531">
    <dcterms:title><![CDATA[The Mixed Style of the &quot;Nun&#039;s Priest&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates the &quot;stylistic virtuosity&quot; of NPT, consistent with its &quot;multiple perspective,&quot; commenting on the plain style of the widow frame, &quot;cinematic&quot; details in descriptions, the quality and comedy of direct dialogue, the &quot;graver rhetoric of the didactic style,&quot; &quot;dramatic economy,&quot; etc.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265486">
    <dcterms:title><![CDATA[The Modals Again in the Light of Historical and Cross-Linguistic Evidence]]></dcterms:title>
    <dcterms:description><![CDATA[The co-occurence of modals of the type &quot;I shall may go&quot; and participial modal constructions of the type &quot;I have wold&quot; in Chaucer&#039;s Bo helps us understand the practical absence of them in post-Medieval English.  Through a three-hundred-year process, the bulk of English verbs separated from the modals.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273320">
    <dcterms:title><![CDATA[The Modern Art of Fortifying: &quot;Palamon and Arcite&quot; as Epicurean Epic.]]></dcterms:title>
    <dcterms:description><![CDATA[Shows how Dryden altered KnT from romance to epic in order to make his adaptation, &quot;Palamon and Arcite,&quot; exemplify &quot;what a heroic poem should be, and by what means it should affect the reader.&quot; Also offers &quot;reasons why the change from romance to epic does not fully succeed.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262885">
    <dcterms:title><![CDATA[The Modernity of Modern Chaucer Criticism]]></dcterms:title>
    <dcterms:description><![CDATA[In their use of the term &quot;modern,&quot; modern Chaucer scholars agree on three aspects:  modern critical, scientific method;modern literary aesthetics; and the artistic personality of Chaucer himself as seen through modern eyes.  Though D. W. Roberson, William Crawford, Larry D. Benson, and others place the beginning of serious critical review at about 1951, some see George Lyman Kittredge as the first representative of modern Chaucer criticism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263767">
    <dcterms:title><![CDATA[The Modernity of the &#039;Nun&#039;s Priest&#039;s Tale&#039;: Narrator, Theme and Ending]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses NPT in terms of narrator, theme, and ending as elements of a larger poetics than genre.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268201">
    <dcterms:title><![CDATA[The Modes of Speech and Thought Presentation in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Originally published in English Literature (Waseda University) 70 (1994). Ambiguities of speech and thought in TC, particularly Criseyde&#039;s, are more likely functions of narrative strategy than reflections of individuated consciousness or characterization.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264242">
    <dcterms:title><![CDATA[The Moment of &#039;Sir Thopas&#039;: Towards a New Look at Chaucer&#039;s Language]]></dcterms:title>
    <dcterms:description><![CDATA[Readers have been too ready to dismiss Th as a parody of popular romances.  Chaucer&#039;s achievement is something much more subtle:  he invents his own English, his own literary idiolect, and then goes on to parody not merely the romances but also the fancies and temptations of his own practice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263517">
    <dcterms:title><![CDATA[The Money Order: False Treasure or True Benefice]]></dcterms:title>
    <dcterms:description><![CDATA[Harrow explores social criticism in Sembene Ousmane&#039;s novella &quot;Le Mandat&quot; (film version &quot;Mandabi&quot;) with references to thematic similarities in Chaucer&#039;s PardT.  Both Ousmane and Chaucer portray the effects of unexpected treasure on its beneficiaries and reveal the falsity of that wealth, but Chaucer writes with intentions of moral reform, while Ousmane advocates social reform.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276909">
    <dcterms:title><![CDATA[The Mongols of Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how SqT and &quot;The Book of John Mandeville&quot; &quot;traffic in fantasies of cultural, religious, and racial annihilation . . . in a quieter, more subtextual way than that seen in other works of crusades-inspired literature&quot; Argues that the Squire poses &quot;conquest-via-effacement&quot; in his tale and, comparing the tale with Mandeville and other works, observes how it endeavors to absorb Mongols into &quot;Latin Christendom.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273139">
    <dcterms:title><![CDATA[The Monk]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how recent scholarship of late medieval monastic practices informs a deeper understanding of the characterization of Chaucer&#039;s Monk. Contends that the Monk can be viewed as a &quot;target of Chaucer&#039;s satire.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272942">
    <dcterms:title><![CDATA[The Monk and the &#039;Merchant&#039;s Tale&#039;: An Aspect of Chaucer&#039;s Building Process in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the Monk was the original teller of the MerT, a response directed against the ShT as told originally by the Wife of Bath. Discusses puns and implications in the GP description of the Monk to characterize the Monk is an &quot;amorous man,&quot; a male &quot;counterpart&quot; to the Prioress (a satiric female type), an appropriate teller of MerT, and an important part of Chaucer&#039;s ongoing revision of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262749">
    <dcterms:title><![CDATA[The Monk&#039;s &#039;Olde Thynges&#039;: Eliminating a Supposed Chaucerian Anacoluthon]]></dcterms:title>
    <dcterms:description><![CDATA[Taking &quot;olde thyngs&quot; (GP 175, Monk&#039;s sketch) as a scribal corruption or emendation of the unattested &quot;alder-thynge&quot; eliminates problems of syntax, semantics, and meaning.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265079">
    <dcterms:title><![CDATA[The Monk&#039;s Boethian Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Despite recent arguments to the contrary, parallels (such as the depiction of Fortune) between MkT and Books II-IV of &quot;The Consolation of Philosophy&quot; show that the Monk&#039;s tragedies are philosophically sound in Boethian terms.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267311">
    <dcterms:title><![CDATA[The Monk&#039;s De casibus : The Boccaccio Case Reopened]]></dcterms:title>
    <dcterms:description><![CDATA[As KnT is a reduction of the Teseida, MkT is a miniature imitation of Boccaccio&#039;s &quot;De casibus virorum illustrium.&quot; The Monk, Boccaccio&#039;s ironic double, interrogates newly emergent forms of tragedy and contests with the other pilgrims within the pilgrimage frame, reflecting other similarities between Boccaccio&#039;s historical collection and Chaucer&#039;s pilgrimage fiction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267308">
    <dcterms:title><![CDATA[The Monk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The narratives of MkT, especially the modern instances, critique the despotism that underlies KnT, provoking the Knight&#039;s interruption.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267953">
    <dcterms:title><![CDATA[The Monk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Middle English audio recording of MkP, MkT, and NPP (through line 2807), read by Alan T. Gaylord. Recorded at the 36th International Congress of Medieval Studies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267023">
    <dcterms:title><![CDATA[The Monk&#039;s Tale : Chaucerian Tragedy]]></dcterms:title>
    <dcterms:description><![CDATA[Although the Monk seems to suggest that the tragedies he relates can be explained by the action of Fortune, there is no consistent concept of Fortune. As a result, MkT is a failure.]]></dcterms:description>
    <dcterms:description><![CDATA[In Korean, with English and Korean abstracts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265081">
    <dcterms:title><![CDATA[The Monk&#039;s Tale: Nero&#039;s Nets and Caesar&#039;s Father--An Inquiry into the Transformations of Classical Roman History in Medieval Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Though the authentic detail of Nero&#039;s golden fishnets passed unchanged into medieval tradition, the fiction of Julius Caesar&#039;s low birth is peculiar to English historians of the later Middle Ages.  It apparently arose in &quot;exempla&quot; of Caesar&#039;s indifference to personal insults, with Augustus&#039; plebeian grandfather wrongly identified with Julius.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267304">
    <dcterms:title><![CDATA[The Monk&#039;s Tragical &#039;Seint Edward&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Triggered by reference to Edward (line 7.1970) as a reminder of the deposition and death of Edward II, MkT is a warning to Richard II.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276131">
    <dcterms:title><![CDATA[The Monsters of Geoffrey Chaucer: The Miller in &quot;The General Prologue&quot; and the Miller in &quot;The Reeve&#039;s Tale&quot; in &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the rebelliousness and animal imagery associated with the GP Miller and Symkyn of RvT, the in-between social status of medieval millers, and depictions of millers in accounts of the Revolt of 1381, arguing that medieval millers were depicted as &quot;defiant monstrous Others.&quot; Includes an abstract in Turkish.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264116">
    <dcterms:title><![CDATA[The Monstrous Races in Medieval Art and Thought]]></dcterms:title>
    <dcterms:description><![CDATA[Drawing from art, iconography, literature, canon law, theology, and cartography, Friedman examines the impact upon European culture of monstrous races.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261491">
    <dcterms:title><![CDATA[The Monument and the Margin]]></dcterms:title>
    <dcterms:description><![CDATA[Writing fixes texts, inviting marginal explication and commentary.  Dante, Boccaccio, Deschamps, Langland, Gower, and Chaucer annotate their own texts to &quot;authorize&quot; them, although modern scholarship has been reluctant to accept glosses as &quot;original.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>