<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/261612">
    <dcterms:title><![CDATA[The Names of Women in the Canterbury Tales: Chaucer&#039;s Hidden Art of Involucral Nomenclature]]></dcterms:title>
    <dcterms:description><![CDATA[The tradition of involucrum explains the Second Nun&#039;s preoccupation with the name Cecilie, associates the Prioress and the Monk with Abelard, associates the Wife of Bath with Bathsheba, and relates the Clerk&#039;s references to Petrarch and &quot;Poo&quot; to Chaucer&#039;s celebration of vernacular poetry.  The name-play allows readers the &quot;cooperative option of verbal reconstruction&quot; by which women&#039;s names can &quot;be made whole and geometrically visible.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270054">
    <dcterms:title><![CDATA[The Naples Manuscript and the Case for a Female Readership]]></dcterms:title>
    <dcterms:description><![CDATA[The intended audience of the Naples manuscript was secular females, evidenced by its internal style and content of four romances and inclusion of medical recipes. The advice to wives in ClT points to the instruction of women--and thus to the intended audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262990">
    <dcterms:title><![CDATA[The Narrating of Chaucer&#039;s &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews interpretations of MerT.  To use Genette&#039;s terminology, the Merchant as teller is an &quot;intradiegetic&quot; narrator among other narrators--extradiegetic (Chaucer the pilgrim), hypodiegetic (Justinus, Pluto), hypo-hypodiagetic (Solomon)--whose interactions are at times metaleptic.]]></dcterms:description>
    <dcterms:description><![CDATA[Analyzing relations among these narrators help reconcile opposed readings and suggests that the tale is what Barthes calls a &quot;multivalent&quot; text, marked by openness and ambiguity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273114">
    <dcterms:title><![CDATA[The Narration of the &quot;Canterbury Tales&quot;: Themes and Variations]]></dcterms:title>
    <dcterms:description><![CDATA[Examines various aspects of the narrations in CT, ranging from the use of tropes to the author&#039;s political position. In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262706">
    <dcterms:title><![CDATA[The Narrative Art of the &quot;Canterbury Tales&quot;: A Critical Study of the Major Poems]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews various theories about the overall design of CT, warning that individual tales can be ignored, though CT is greater than the sum of its parts, and that Chaucer&#039;s final intentions concerning the order of the tales are unknown.  In an analysis unclutttered by modern critical theory, Bishop concentrates upon the &quot;achievement of constituent parts&quot; and examines the settings and contexts for the tales.]]></dcterms:description>
    <dcterms:description><![CDATA[Under the classification of &quot;gentilesse,&quot; he treats KnT, FranT, SqT, and Th; under &quot;harlotrie,&quot; MilT, RvT, and ShT; under tales that use exempla, NPT, MkT, and PardT; under the quest for meed, FrT, SumT, and CYT; under &quot;wyves&quot; and the art of persuasion, WBP, WBT, ClT, MerT, and FranT; under &quot;gems of chastity,&quot; PhyT and PrT; under &quot;moralite,&quot; ManT and NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273688">
    <dcterms:title><![CDATA[The Narrative Art of the &quot;Pardoner&#039;s Tale.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Attributes the aesthetic success of the three-rioters account in PardT to Chaucer&#039;s suggestive &quot;economy&quot; of characterization and narrative and to the double perspective (&quot;drunken fantasy&quot; and &quot;sober calculation&quot;) that irrevocably leads to death, which ironically could not be found when pursued. Includes comparisons with the narrative techniques of PrT and RvT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274402">
    <dcterms:title><![CDATA[The Narrative Function of Irony in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explains various kinds of irony evident in TC, and argues that the character of Criseyde is not ironic; she is consistent with Chaucer&#039;s sources, but &quot;controlled by the manners and ideals of courtly love&quot; even though these ideals are shown to be fallible.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272083">
    <dcterms:title><![CDATA[The Narrative of &#039;Sir Thopas&#039; and &#039;Melibeus&#039;: Parallels in the Vices and the Virtues]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Thop can be read as a didactic narrative that breaks off at the &quot;point most effective for developing the theme of salvation&quot; which is brought to conclusion in Mel. The tales share similar concerns with vice and with the world, the flesh, and the devil.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268181">
    <dcterms:title><![CDATA[The Narrative of Selection in Jean Froissart&#039;s Collected Poems: Omissions and Additions in BN MSS fr. 830 and 831]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Froissart&#039;s Dit dou bleu chevalier is &quot;a poem so like&quot; BD that it &quot;seems certain one is modeled upon the other&quot; (45).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264273">
    <dcterms:title><![CDATA[The Narrative Speculum in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Pandarus, Antigone, and the nightingale serve as narrative &quot;specula&quot; to influence Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268169">
    <dcterms:title><![CDATA[The Narrative Structure of The Parliament of Fowls]]></dcterms:title>
    <dcterms:description><![CDATA[Explores narrative technique and meaning in PF; shifts in narrative strategies reveal intention.]]></dcterms:description>
    <dcterms:description><![CDATA[In Korean, with Korean and English abstracts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264398">
    <dcterms:title><![CDATA[The Narrative Style of the Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The narrative of MLT depends less on organic structure to develop the story than on exemplary episodic narrative sequence.  Lack of descriptive detail is an effect of the narrator&#039;s interest in action, and the mode of presentation and the style of the persona of the narrator are deliberate effects of the style of hagiographic romance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276593">
    <dcterms:title><![CDATA[The Narrative Tactics of Chaucer&#039;s Monk.]]></dcterms:title>
    <dcterms:description><![CDATA[Using Michel de Certeau&#039;s idea of the tactic, argues that the Monk represents the monastic estate, and that he uses tragedies to attack the Host, representative of the city, and the Knight, representative of the nobility. Explores the Monk&#039;s own relationship to patience and fortune, suggesting that his tragic method positions him as most able to guard against fortune.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262554">
    <dcterms:title><![CDATA[The Narrative Technique in &#039;Troilus and Creseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s narrative techniques in TC, focusing on two points of view:  one intrinsic, in the relationship between the narrator and the story; the other extrinsic, between the narrator and the audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273375">
    <dcterms:title><![CDATA[The Narrative Techniques of Chaucer&#039;s Fabliaux.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines point of view, presentation, plot, and characterization in ShT, MilT, RvT, SumT, and FrT, comparing and contrasting these techniques with those found in Old French fabliaux, and arguing that Chaucer supersedes his predecessors in complexity, characterization, and credibility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276350">
    <dcterms:title><![CDATA[The Narrator and His Audience: A Study of Chaucer&#039;s Troilus.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers love in TC in light of medieval understandings of &quot;caritas&quot; and &quot;cupiditas,&quot; identifying several specifically Christian details in the poem, and assessing tensions between its Christianity and the &quot;religion&quot; of courtly love. Argues that the Narrator &quot;accentuates tensions between the two religions,&quot; setting himself up as &quot;sort of anti-pope,&quot; but unable to detach himself emotionally from his protagonists. In the end, Chaucer speaks in &quot;propria persona&quot; resolving the tensions produced by the Narrator&#039;s ambiguities.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273671">
    <dcterms:title><![CDATA[The Narrator and His Narrative in Chaucer&#039;s &quot;Parlement.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the tripartite structure of PF, its shifting tone and three styles (religious/philosophical, romantic, realistic), the sad plight of the narrator who is left without love, and the predominance of Nature, the poem&#039;s &quot;heroine&quot; who fails to offer fulfillment. Identifies parallels between PF and the &quot;Pervigilium Veneris.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264941">
    <dcterms:title><![CDATA[The Narrator and the Comic Framework in Chaucer&#039;s &#039;Parlement of Foules&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[There are several contrasts and incongruities in tone, style, and ideas in Chaucer&#039;s PF, as for example the naive narrator vs. condescending Scipio, ideal love vs. natural love, the love garden vs. the discordant parliament held therein, courtly language vs. colloquial diciton of the birds.  By creating a comic framework, these jarring juxtapositions help to unify the work in its mockery of all rigid views of human love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262770">
    <dcterms:title><![CDATA[The Narrator as Mourner and Therapist in Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The narrator of BD serves a therapeutic role:  he helps the Black Knight talk out his grief and in the process purges himself of his own sorrow.  In light of recent psychological studies, Chaucer&#039;s insights into bereavement are astute.  BD warns against abnormal grieving; acceptance of loss and the decision to continue living are essential in avoiding pathological grief.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272245">
    <dcterms:title><![CDATA[The Narrator Asleep and Awake in Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the obtuse narrator&#039;s misreading of the Ovidian story of Ceyx and Alcyone in BD misleads him and underlies the poem&#039;s general encouragement that people must accept misfortune. The narrator within the dream is not obtuse, but he does not carry his perspicuity into a wakeful state.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276672">
    <dcterms:title><![CDATA[The Narrator in Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the narrator of TC as a &quot;dramatic&quot; character--one who is known &quot;by what he says rather than what is said about him&quot;--whose shifting perspectives in the poem inflect readers&#039; opinions of the other characters and their actions. The shifts also compel readers to recognize that the narrator is himself a character--not &quot;a historian or commentator, a master of events, but as a dupe of time, a mortal of little, brief authority&quot; when viewed from the eternal perspective of the poem&#039;s envoy. The perspective of the envoy shifts from the narrator&#039;s to the poet&#039;s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264060">
    <dcterms:title><![CDATA[The Narrator of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The narrator of TC, never overtly separated from the author, implicates and disorients the reader by inconsistencies, variations in person and syntax, seeming self-identification now with Troilus&#039;s naivete and now with Pandarus&#039;s deviousness, professions of loyalty to his source, the inconclusive elevation of Troilus to the spheres, and the anticlimactic palinode.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273287">
    <dcterms:title><![CDATA[The Narrator of the &quot;Canon&#039;s Yeoman&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Resists readings of the CYT that regard the narrator as stupid or unwitting in his self-revelation, contending instead that he is a &quot;newly reformed alchemist&quot; who is, generally, &quot;rational, down-to-earth, and persuasive in his description and assessment&quot; of alchemical practices.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274464">
    <dcterms:title><![CDATA[The Narrator of the &quot;Troilus and Criseyde&quot;: A Study of the Prohemia and Epilogue.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;compassion&quot; of the narrator of TC as his dominant attitude, &quot;paradoxically allied&quot; to his &quot;helplessness&quot; before &quot;inexorable fate,&quot; and modified by his didactic intent, &quot;historical perspective,&quot; and &quot;ironic detachment.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275274">
    <dcterms:title><![CDATA[The Narrator of the Troilus and Criseyde: A Study of the Prohemia and Epilogue.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the point of view of the &quot;Narrator&quot; of TC, particularly the ironic combination of detachment and involvement established in the openings of the five books and in the epilogue of the poem.]]></dcterms:description>
</rdf:Description></rdf:RDF>