<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/274027">
    <dcterms:title><![CDATA[The Myth of &quot;Piers Plowman.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the &quot;Langland archive&quot; to address the history of the production and reception of &quot;Piers Plowman.&quot;The &quot;Conclusion&quot; (pp. 129-40) reveals early eighteenth-century textual scholarship that attributes &quot;Piers Plowman&quot; to Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270687">
    <dcterms:title><![CDATA[The Myth of an Oral Style in Chaucer&#039;s Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[It is &quot;anachronistic to assume&quot; that Chaucer distinguished between the &quot;reading and hearing of his literary works.&quot; His &quot;style is best understood as a versatile adaptation of language to suit both silent and vocalized readings.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262623">
    <dcterms:title><![CDATA[The Myth of Chaucerian Irony]]></dcterms:title>
    <dcterms:description><![CDATA[Now a mainstay of Chaucerian criticism, the term &quot;irony&quot; has designated at least three different concepts in literary history, variously emphasizing the authority of the text, the poet, and the critic.  Rhetorical irony, the &quot;appeal to an absent authority,&quot; was the meaning of the term from classical times through Tyrwhitt and the eighteenth century.]]></dcterms:description>
    <dcterms:description><![CDATA[Later critics--notably Kittredge--expounded romantic irony, which transferred authority from the text to the poet.  Finally, the New Critics (especially Cleanth Brooks) furthered this transferal to the critic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276343">
    <dcterms:title><![CDATA[The Myth of Courtly Love.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the idea that adultery in inherent to courtly love and attributes the notion to critics&#039; failure to recognize the humor of Andrea Capellanus. Cites various examples of courtly love in medieval literature, and includes comments on Absolon as lover in MilT and the love in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266090">
    <dcterms:title><![CDATA[The Myth of Origin and the Making of Chaucer&#039;s English]]></dcterms:title>
    <dcterms:description><![CDATA[Linguistic claims that Chaucer&#039;s English is the origin of English literary language are self-fulfilling, based on the &quot;myth,&quot; in the sense of Levi-Strauss, that Chaucer originated English poetic tradition.  The OED credits Chaucer with the first citation of 1,180 words (many of them introductions from French and Latin) because the compilers worked under the influence of the myth, as the compilers of the MED continue to do.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274870">
    <dcterms:title><![CDATA[The Myth of Philomela from Margaret Atwood to . . . Chaucer: Contexts and Theoretical Perspectives.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers four frame-tale versions of the Philomela story--Margaret Atwood&#039;s &quot;Nightingale&quot; in &quot;The Tent&quot; (2006), George Pettie&#039;s in &quot;A Petite Pallace of Pettie His Pleasure&quot; (1576), Chaucer&#039;s in LGW, and Gower&#039;s in &quot;Confessio Amantis&quot;--focusing on interactions among narrative point of view, frame structure, and metapoetics. Suggests that Chaucer&#039;s version may be seen as &quot;a self-aware game with his readership, and . . . as Chaucer&#039;s ironic commentary on moralizing conceptions of literature.&quot; Includes an abstract in English and in French.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268297">
    <dcterms:title><![CDATA[The Myth of Print Culture: Essays on Evidence, Textuality, and Bibliographical Method. Studies in Book and Print Culture]]></dcterms:title>
    <dcterms:description><![CDATA[Wide-ranging discussion of the opposition between evidence (physical materials) and discourse (abstractions covered by the word &quot;text&quot;) in bibliographical and literary study, with sustained attention to editions of Chaucer and their methods and assumptions.]]></dcterms:description>
    <dcterms:description><![CDATA[Dane demonstrates the methodology of collation with several versions of the epitaph on Chaucer&#039;s tomb. He interrogates the usefulness and consistency of the concept &quot;basis of collation&quot; as used in the service of predilections that underlie Skeat&#039;s edition, Manly and Rickert&#039;s edition, the Variorum edition, and Caxton&#039;s Canterbury Tales on CD-ROM.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271624">
    <dcterms:title><![CDATA[The Myth of the Fall: Literature of Innocence and Experience]]></dcterms:title>
    <dcterms:description><![CDATA[An anthology of short works and excerpts from the Bible to modern poetry pertaining to the Fall and Redemption, with brief introductions and discussion questions designed for classroom use. Includes an excerpt from ParsT (10.316-57; pp. 33-36) in Middle English with glosses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269428">
    <dcterms:title><![CDATA[The Mythical Method: Eliot&#039;s &#039;The Waste Land&#039; and A Canterbury Tale (1944)]]></dcterms:title>
    <dcterms:description><![CDATA[Freer examines modernist uses of the past in Eliot&#039;s &quot;The Waste Land&quot; and the English movie &quot;A Canterbury Tale,&quot; directed by Michael Powell. Explores several allusions to Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262285">
    <dcterms:title><![CDATA[The Mythographic Art: Classical Fable and the Rise of the Vernacular in Early France and England]]></dcterms:title>
    <dcterms:description><![CDATA[A collection of articles covering mythographic art in the literature of early France, early England (Chaucer), and Renaissance England (Shakespeare).  Chance defines mythography as &quot;the explanation of classical mythology that often involves moralization or allegorization.&quot;  Includes bibliographies.]]></dcterms:description>
    <dcterms:description><![CDATA[For individual essays that pertain to Chaucer,  of this volume.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265801">
    <dcterms:title><![CDATA[The Mythographic Chaucer: The Fabulations of Sexual Politics]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s astrological and mythological allusions in light of medieval mythographic commentaries, arguing that such analysis discloses &quot;embarrassing secrets.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[  Assesses MLP and ManT as indicators of Chaucer&#039;s concern with poetic disguise and explores aspects of love and gender in BD, LGW, HF, and PF.]]></dcterms:description>
    <dcterms:description><![CDATA[  While the surface love story in TC shields darker concerns of gender and family, CT also contains social, sexual, and political depths implicit in its mythographic allusions and patterns.]]></dcterms:description>
    <dcterms:description><![CDATA[Includes discussuion of KnT, WBPT, MerT, FranT, PhyT, PardPT, and Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266598">
    <dcterms:title><![CDATA[The Mythological Authorization of Kingship in Chaucer&#039;s &#039;The Parliament of Fowls&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores political implications of PF, commenting on the theme of common profit and on Chaucer&#039;s political situation.  Examines the role of Nature as an advocate of hierarchy and a suppresser of rebellion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264962">
    <dcterms:title><![CDATA[The Mythological Tradition in Chaucer&#039;s &#039;Complaint of Mars&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Though Chaucer obliquely refers to the positive interpretation of the Mars-Venus-Vulcan myth (in the gift by Vulcan to Harmonia of a brooch), he stresses the negative--that the martial man is best advised to avoid the temptations of love.  The portrait of Mars as an inept and ultimately weakened lover is also reflected in TC and FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263063">
    <dcterms:title><![CDATA[The Myths of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Rehyansky studies classical allusions Chaucer introduced into TC:  they underscore its themes.  Oenone, Daphne, Europa, and Venus represent the folly and tragedy of love; Niobe, Tantalus, Ixion, and Tityus show the folly of pride, greed, and ambition.  These myths prepare for the palinode.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262267">
    <dcterms:title><![CDATA[The Myths of Love: Classical Lovers in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;conventions governing allusions to certain Ovidian and Virgilian tales of love in the works of Boccaccio, Machaut, Froissart, and Chaucer,&quot; addressing &quot;questions of narrative voice, thematic unity, and purpose&quot; and concentrating on Chaucer&#039;s French and Italian sources and their affinities with the &quot;Roman de la Rose.&quot; In chapter 5, Heinrichs demonstrates that although classical lovers, most prominent in BD, HF, PF, and LGW, are used as clues to meaning, critics--assuming that Chaucer borrowed the language of his French sources without respecting the &quot;ideas or structural characteristics of their poetry&quot;--have disagreed widely about those meanings. Heinrichs refutes their critical misconceptions, showing that in BD Chaucer, following tradition, associates the classical lovers with &quot;the theme of overvaluation of temporalia.&quot;  In HF, the &quot;persistent bewilderment and innocent admiration&quot; of the naive Geffrey suggests that &quot;the operations of Fortune, as manifested in the two arenas of Love and Fame,&quot; bewilder the unreflecting literalist. The lesson is that &quot;servitude to Fortune leads to frustration.&quot;  In PF, the moral directive for the narrator is &quot;allegiance to celestial love or, if his inclination is earthly, to natural love and the founding of a family.&quot; Classical lovers figure most prominently in LGW, a work built on the traditional idea that love&#039;s martyrs are foolish in their sacrifices.  Chaucer, however, &quot;turns symbols on their heads, associating the daisy with Christ and the Virgin and Alceste with Cupid.&quot;  Like Machaut, Chaucer exposes &quot;the absurdity of the doctrine that results when Christian virtue is converted to the service of love &#039;pars amours&#039;.&quot; In all these poems, the uses of classical lovers are &quot;circumscribed and governed by convention.&quot;  Modern critical approaches prevent us &quot;from reading medieval poetry as the poets meant it to be read.&quot;  The &quot;lover/narrators of later French (and Italian and English) poetry&quot; are stock characters who represent a consistent and traditional &quot;stock point of view.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265523">
    <dcterms:title><![CDATA[The Naked Text: Chaucer&#039;s &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes LGW as an under-appreciated work, using an ecletic combination of approaches derived from semiotic, historicist, and feminist theories.  LGWP and the separate legends are coherent but not organic; they combine in their recurrent Pauline/Augustinian orthodoxy and in their concerns with poetic language and such contemporary political topics as Lollardy and crusading. ]]></dcterms:description>
    <dcterms:description><![CDATA[Exploring issues of art, philosophy, and history, Delany compares LGW to works of Ovid, Boccaccio, and Christine de Pizan, emphasizing its sexual wordplay, Orientalism, and representations of gender and class.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262519">
    <dcterms:title><![CDATA[The Naked Text: Chaucer&#039;s &#039;Thisbe,&#039; the &#039;Ovide Moralise,&#039; and the Problem of &#039;Translatio Studii&#039; in the &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[A twelfth-century &quot;lai&quot; and its fourteenth-century moralization,  both in the &#039;Ovide moralise,&#039; provided Chaucer verbal details and a general   concept for his treatment of &quot;Thisbe&quot; in LGW.  Echoing the fissure between the  &#039;lai&#039; and the moralization, Chaucer sets up an opposition between his comic     view of humanity and the God of Love&#039;s demand for an idealized representation   of    women.  LGW thus foregrounds the problems of transmitting ancient         learning      (&quot;translatio studii&quot;).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273930">
    <dcterms:title><![CDATA[The Naked Truth: Chaucerian Spectacle in Brian Helgeland&#039;s &quot;A Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;unexpected points of contact between&quot; Brian Helgeland&#039;s &quot;A Knight&#039;s Tale&quot; and Chaucer&#039;s poetry, discussing ways that the film and KnT focus on tilting arenas and order, their affinities with pastiche, their concern with the power of the poet, and their &quot;enlisting&quot; of audience &quot;complicity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270679">
    <dcterms:title><![CDATA[The Name Daisy: The Great Gatsby and Chaucer&#039;s Prologue to The Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Rejects a previous attempt to link Fitzgerald&#039;s Daisy Fay and Alceste of LGWP, arguing instead that, via imagery, Gatsby&#039;s love for Daisy in the novel resonates with the love of Chaucer&#039;s narrator for the daisy in the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277314">
    <dcterms:title><![CDATA[The Name of Chaucer&#039;s Friar.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the Friar&#039;s name, &quot;Huberd&quot; (GP 1.269), &quot;may be an ironic literary allusion, to Hubert &#039;l&#039;escoufle,&#039; the kite, a bird of prey, and a lewd cleric and confessor in the Old French poems of the &#039;Renart&#039; tradition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267065">
    <dcterms:title><![CDATA[The Name of Chaucer&#039;s Miller]]></dcterms:title>
    <dcterms:description><![CDATA[The name &quot;Robin&quot; was a generic name for a teller of ribald stories; it was also appropriate to a &quot;robber&quot; or thief.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268127">
    <dcterms:title><![CDATA[The Name of Kayrrud in the Franklin&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Kayrrud,&quot; the home of Arveragus in FranT, refers not to a &quot;red fort,&quot; as Tatlock suggested (1914), but to &quot;Kairiud,&quot; a fishing village &quot;one mile east of Penmarch Head.&quot; Chaucer&#039;s knowledge of Middle Breton was more precise than commentators have supposed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263009">
    <dcterms:title><![CDATA[The Name of the Corpse: A Reading of &#039;The Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[PardT contains a series of mirror paradoxes:  the rioters&#039; quest to slay Death becomes Death&#039;s quest to slay them; the Old Man claims he cannot find Death but directs the rioters to it; and the rioters&#039; success in their quest proves to be their failure.  Likewise, the Pardoner&#039;s rhetorical performance is an attempt to mask his eunuchry from the pilgrims but actually exposes it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269112">
    <dcterms:title><![CDATA[The Name of the Scribe: Solving a Mystery Behind the Huntington&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Announces Linne R. Mooney&#039;s identification of Adam Pinkhurst as the scribe of the Ellesmere manuscript of CT, held at the Huntington library.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273386">
    <dcterms:title><![CDATA[The Names of the Canterbury Pilgrims.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the paucity of names given to the pilgrims in CT and comments on those that are given; Eglyntine, John (Nun&#039;s Priest), Piers (Monk), Harry Bailly (and his wife Goodelief), Huberd, Hodge, Robin, Oswald, Alisoun, and Chaucer himself, who is named in the rubrics, While the fictional names are &quot;suitable,&quot; Chaucer was evidently &quot;not particularly concerned about giving names to the pilgrims.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>