<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/263254">
    <dcterms:title><![CDATA[The Moon and Medicine in Chaucer&#039;s Time]]></dcterms:title>
    <dcterms:description><![CDATA[A survey of medieval medical documents indicates that GP&#039;s Physician conforms accurately to expected medical practice; the astronomical position and astrological meaning of the moon provide a basis for medieval medical theory and practice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262017">
    <dcterms:title><![CDATA[The Moon and Venus: Troilus&#039;s Havens in Eternity]]></dcterms:title>
    <dcterms:description><![CDATA[Negative elimination, sources, and proleptic passages isolate the moon, both symbol for inconstancy and threshold to immutability, as Troilus&#039;s port of death, logically compatible with the variants.  Venus, traditionally combining the poem&#039;s themes of earthly and divine love, is the obvious choice for his final sphere.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264294">
    <dcterms:title><![CDATA[The Moon in Leo in Book V of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In this last book Chaucer uses a number of devices inexorably to distance the reader from the personages in the poem.  He suggests astral influence that brings about the inevitable movement of joy-to-sorrow in love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264494">
    <dcterms:title><![CDATA[The Moon in Leo: What Chaucer Really Did to &#039;Il Filostrato&#039;s&#039; Calendar]]></dcterms:title>
    <dcterms:description><![CDATA[The lunar calendar and imagery of TC 4, though inspired by a similar device in &quot;Filostrato,&quot; are far more elaborate than those in the source.  The title characters are often directly correlated to these images, which deepens their development.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265971">
    <dcterms:title><![CDATA[The Moral Landscape of the &#039;Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The geographic references in PardT, of which the stile is the central figure, represent a loosely symbolic, &quot;moral&quot; landscape that adds to the moral tone of the tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276280">
    <dcterms:title><![CDATA[The Moral of &quot;The Nun&#039;s Priest&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies nine aphoristic statements in NPT and assesses the extent to which they can be considered the &quot;moralite&quot; referred to by the narrator in 7.3440. Considers analogous fables and claims that Chaucer&#039;s version demonstrates &quot;a common Chaucerian theme: that man is, by nature--although to varying extents--chronically unable to foresee the probable consequences of his own choices.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277662">
    <dcterms:title><![CDATA[The Moral of the Manciple&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the expansive moralizing about silence at the end of ManT is &quot;directed&quot; by the Manciple &quot;toward the inebriated Cook,&quot; effectively linking the GP description of the Manciple, ManP, and ManT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273825">
    <dcterms:title><![CDATA[The Moral Superiority of Chaucer&#039;s Pardoner.]]></dcterms:title>
    <dcterms:description><![CDATA[Asks why the Pardoner &quot;always preaches against his own sin&quot; and why he admits to doing so to the Canterbury pilgrims, using the questions to argue that he is a con-man rather than a hypocrite, and one who considers himself morally superior to his members of his audience who, as &quot;self-hypocrites&quot; who &quot;want it both ways,&quot; fall victim to him, the &quot;unhypocritical emblem of hypocrisy.&quot; ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274430">
    <dcterms:title><![CDATA[The Moral Vision in &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Uses ParsT as a standard by which to assess the morality of CT, discussing the &quot;ubiquity of sin in the Canterbury pilgrims,&quot; the &quot;prominence of Pride&quot; in especially the Wife of Bath and Pardoner materials, and the balancing virtues found elsewhere in the tales, particularly KnT, MLT, and ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261945">
    <dcterms:title><![CDATA[The Morality of &#039;The Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The wording of MerT has many echoes, some heretofore unidentified, of medieval marriage services.  Suggestions of the Christian ideal are thus juxtaposed to the characters&#039; perverse misunderstandings of marriage throughout the tale, providing an explicit standard for moral judgment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276636">
    <dcterms:title><![CDATA[The More Things Change: Maria Edgeworth&#039;s &quot;The Modern Griselda.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines ClT and Maria Edgeworth&#039;s &quot;The Modern Griselda&quot; in light of their respective contemporaneous conduct manuals for women, arguing that the protagonist of each narrative becomes &quot;monstrous&quot; in &quot;fulfilling too completely the ideals of womanhood extolled by their particular cultural milieus.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273777">
    <dcterms:title><![CDATA[The Morgan Manuscript (M 39) of &quot;Le Livre de Melibee et de Prudence.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the authorship and manuscript provenance of a French version of the tale of Melibee, an analogue of Mel.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269160">
    <dcterms:title><![CDATA[The Morphological Legacy of French: Borrowed Suffixes on Native Bases in Middle English]]></dcterms:title>
    <dcterms:description><![CDATA[Miller tallies a number of &quot;hybrid derivatives&quot; from before 1500, focusing on top-frequency suffixes. Examples and conclusions involve Chaucerian usage, including Chaucer&#039;s tendency to develop &quot;non-technical hybrids&quot; and to use &quot;non-prestige French affixes on native English bases&quot; rather than to apply &quot;abstract suffixes on bases of lower register.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274591">
    <dcterms:title><![CDATA[The Mortal Spectacle: History in &quot;The Monk&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses how Chaucer&#039;s storytelling narrative structure of MkT reflects the Italian genre of &quot;casus tragedy,&quot; learned from Dante and Boccaccio.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267299">
    <dcterms:title><![CDATA[The Mother Tongue and the Body in the Prioress&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses vernacular religious resources available to women in the late Middle Ages, focusing on English piety at the edge of Latin literary culture.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264582">
    <dcterms:title><![CDATA[The Motif of Exorcism in the Summoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Scatological jests, such as dividing Thomas&#039; &quot;yifte,&quot; are derived from classical sources and adapted to Christian theology.  Thirteenth- and fourteenth-century manuscripts frequently show defecation or breaking of wind to drive away the devil.  The squire&#039;s grotesque solution to the &quot;departynge&quot; of the gift hints at avarice among mendicants and parodies the Pentecostal distribution of the Holy Spirit, which they believed themselves heir to. ]]></dcterms:description>
    <dcterms:description><![CDATA[Probably derived from icongraphic depictions of the twelve winds, the motif was not objectionable to aristocratic audiences, for whom, indeed, it was designed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270821">
    <dcterms:title><![CDATA[The Motif of the Patient Wife in Muslim and Western Literature and Folklore]]></dcterms:title>
    <dcterms:description><![CDATA[Provides comparative analysis of the modern Tunisian tale &quot;Sabra,&quot; an analogue of ClT, told by a woman to an exclusively female audience. Includes summary of and commentary on Chaucer&#039;s &quot;ambivalent and ironic version,&quot; plus other medieval European analogues, exploring how context affects interpretation of the basic folkloric narrative.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275565">
    <dcterms:title><![CDATA[The Motives of Reeds: The Wife of Bath&#039;s Midas and Literary Tradition.]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Sergej Karcevskij&#039;s theory of miscommunication to clarify the amalgamation and &quot;redoctrinations&quot; of various versions and interpretations of the Midas story, exploring how Chaucer&#039;s version in WBT engages Ovid&#039;s original and related materials.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270270">
    <dcterms:title><![CDATA[The Movement of the &quot;Canterbury Tales&quot;: Chaucer&#039;s Literary Pilgrimage]]></dcterms:title>
    <dcterms:description><![CDATA[A reading of the CT as &quot;Chaucer&#039;s aesthetic and metaphysical pilgrimage&quot; in which his religious orthodoxy eventually supersedes &quot;alternatives and legitimate philosophical doubts.&quot; Follows the Ellesmere order of the tales (defending it on thematic grounds), and assesses each tale in turn, with sustained attention to the Host, the links between the tales, and Chaucer&#039;s intentions.  Parts 1 and 2 explore the &quot;dialectic&quot; among various insufficient or unacceptable perspectives, parts 3-5 consider the spiritual &quot;order for which marriage is a metaphor,&quot; parts 6 and 7 contemplate art and its limitations, and parts 8-10 dramatize in various ways that transformation is necessary for humans to achieve spiritual fulfillment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274733">
    <dcterms:title><![CDATA[The Multisensoriality of Place and the Chaucerian Multisensual.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;full sensory expression&quot; in Chaucer&#039;s &quot;construction of space,&quot; emphasizing the interconnectedness of the five senses in medieval understanding and their ethical dimensions that require proper training to engage volition correctly. Includes observations about these concerns in ParsT, Mel, Bo, SNT, and PF, where the interconnectedness of the senses is an ideal achievable in heavenly places, and dismantled in hellish ones.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272726">
    <dcterms:title><![CDATA[The Music of the Spheres and &#039;The Parlement of Foules&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer &quot;weaves through the structure and themes of [PF] all four medieval species of music, and numerous subspecies, in a way that emphasizes the failing of the eagles&quot; and &quot;that the [planetary] spheres are . . . the cause of almost all this abundant music, including the very form itself of the poem, its meter, stanza, and length.&quot; Considers Chaucer&#039;s uses of Boethius&#039;s &quot;De Musica&quot; and &quot;Consolation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272922">
    <dcterms:title><![CDATA[The Mutability Motif in &#039;The Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Observes that carpenter John&#039;s sense of worldly instability in MilT is established in 1.3423-30 and 1.3449-50, anticipating his ready acceptance of Nicholas&#039;s prediction of the Flood later in the Tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273067">
    <dcterms:title><![CDATA[The Mutilated Body: The Relationship between the Oaths and the Relics in the &#039;Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines connotations of words concerning oaths and mutilation of body in PardT in relation to contemporary attitudes toward the worship of relics. In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263412">
    <dcterms:title><![CDATA[The Mutual Commerce: Masters of Classical Allusion in English and American Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Includes chapters on classical allusion in Pope, More, and Milton, and two chapters devoted to Chaucer.  Chapter 2 explores Chaucer&#039;s allusions to Virgil&#039;s &quot;Aeneid&quot; in KnT, concerning fate.  Chaucer&#039;s view of a chaotic universe is compared to Virgil&#039;s view of an ordered universe.  Chapter 5 analyzes the evolution of the cosmic union motif (earth-sky) in Classical Christian tradition, tracing it through Chaucer (CT), Spenser, Milton, Pope, Whitman, and Eliot.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265074">
    <dcterms:title><![CDATA[The Mysterious &#039;Greyn&#039; in the &#039;Prioress&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The grain which the Virgin places on the clergeon&#039;s tongue and which is removed after his death to stop his singing is simply a prop necessary to the structure of the tale; elaborate allegorizations are unnecessary.]]></dcterms:description>
</rdf:Description></rdf:RDF>