<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/272679">
    <dcterms:title><![CDATA[The Nun&#039;s Priest&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; the WorldCat records indicate that this is a reading by Piehler of NPT in Middle English and that this was re-issued on CD in 2010.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272727">
    <dcterms:title><![CDATA[The Nun&#039;s Priest&#039;s Tale and Boethus&#039;s &#039;De Musica&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Chauntecleer is Chaucer&#039;s satiric target when he refers to Boethius in NPT 7.3294; the rooster apparently is not familiar with Boethian music theory found in both &quot;De Musica&quot; and the &quot;Consolation of Philosophy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274281">
    <dcterms:title><![CDATA[The Nun&#039;s Priest&#039;s Tale and The Pardoner&#039;s Tale (Geoffrey Chaucer).]]></dcterms:title>
    <dcterms:description><![CDATA[Introductory, descriptive analysis of NPPT and PardPT, &quot;designed primarily for the school, college, and university student.&quot; Summarizes the places of the two Tales in CT and explains their poetic and thematic concerns, focusing on the artful combination of comedy and seriousness in NPT and the performative aspects of PardT, with commentary on sources and analogues, rhetoric, genre, etc. Includes study questions and a section on &quot;Chaucer&#039;s Language&quot; (pp. 75-79) including lexicon and versification.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269104">
    <dcterms:title><![CDATA[The Nun&#039;s Priest&#039;s Tale on CD-ROM. The Canterbury Tales Project]]></dcterms:title>
    <dcterms:description><![CDATA[Includes interlinked images and transcriptions of all fifty-five pre-1500 versions of NPT, with complete collations (linked to variant maps), commentaries on family relationships of the versions, and stemmatic commentary on key readings. The search engine enables comparisons by spelling, word, line, witness, and complex combinations. Includes full descriptions of all witnesses and scribes (by Mosser), fully lemmatized databases of all spellings and words, and a bibliography. The editor&#039;s introduction comments on scribal variation and the utility of multi-spectral imaging for manuscript study.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267853">
    <dcterms:title><![CDATA[The Nun&#039;s Priest&#039;s Tale y sus fuentes a la luz de la sátira Menipea]]></dcterms:title>
    <dcterms:description><![CDATA[Examines various sources, intertextual relations, and the Bahktinian dialogism of NPT as aspects of its relations with Menippean satire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269970">
    <dcterms:title><![CDATA[The Nun&#039;s Priest&#039;s Tale, by Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Textbook edition of NPPT. Includes glosses and discursive notes (at the back of the book) and discussion of approaches to the text: sources and analogues, characterization, assessment of theme and topic, and analysis of poetic technique. Also includes basic contextual materials (GP description of Prioress, black-and-white illustrations, excerpted analogues, etc.), a chronology and discussion of language, and suggestions for classroom activities and discussion.]]></dcterms:description>
    <dcterms:description><![CDATA[Second edition published in 2006.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277677">
    <dcterms:title><![CDATA[The Nun&#039;s Priest&#039;s Tale: For Chorus and Orchestra.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275998">
    <dcterms:title><![CDATA[The Nun&#039;s Priest&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the critical history of NPT, including the scant comments focused on the tale between the fifteenth and nineteenth centuries. Argues that the &quot;tale&#039;s interest in direct experience acts as means of liberations from the plethora of discourses in which it becomes mired.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271378">
    <dcterms:title><![CDATA[The Nun&#039;s Tale: An Owen Archer Mystery]]></dcterms:title>
    <dcterms:description><![CDATA[Murder mystery involving a nun who apparently comes back to life; Chaucer figures as a secondary character. Translated into Italian as &quot;La Reliquia Rubata: Thriller Medioevale&quot; (Casale Monferrato: Piemme, 2001).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274702">
    <dcterms:title><![CDATA[The Object of Miraculous Song in &quot;The Prioress&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on materiality and objects in PrT, specifically the corpse, the antiphon, and the &quot;greyn,&quot; and their &quot;transcendence of the miraculous object.&quot; Claims that these objects illustrate Carolyn Bynum&#039;s notion of material objects involved in miraculous change. Concludes with a look at the &quot;greyn&quot; and the Tale itself, both of which are purposefully inserted into a mouth (the clergeon&#039;s/the Prioress&#039;s), and considers connections between the object and the oral.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261498">
    <dcterms:title><![CDATA[The Obscene Poetic Self in Rutebeuf and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[In contrast with Augustinian models, the poetic use of obscenity provides a nontraditional method of self-definition.  For Rutebeuf, the obscene served to establish his own poetic identity; for Chaucer, it provided a means for characters to establish themselves.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275367">
    <dcterms:title><![CDATA[The Obtuse Narrator in Chaucer&#039;s House of Fame.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the unity of HF evident in the &quot;evolution of the narrator, Geffrey,&quot; arguing that the poem &quot;is essentially a humorous and all-embracing review of man&#039;s frantic quest for fame, learning, and love&quot; that follows the educating of [a] drudging love poet&quot; and culminating successfully in &quot;an amusing and incisive revelation of the &#039;comédie humaine&#039;--an ending of comic disillusionment.&quot; Includes comparisons of the narrators in HF and BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264469">
    <dcterms:title><![CDATA[The Occasion of &#039;The Parliament of Fowls]]></dcterms:title>
    <dcterms:description><![CDATA[Offers new support for the old theory that PF represents Anne of Bohemia as the &quot;formel eagle&quot; and King Richard, Charles of France, and Friedrich as her three suitors, presenting new ararguments for dating the poem in 1380 and new evidence that both Charles and Friedrich were actual rivals for Anne&#039;s hand.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in &quot;Contradictions: From Beowulf to Chaucer:  Selected Studies of Larry D. Benson,&quot; ed. Theodore M. Andersson and Stephen A. Barney (Aldershor, Hants: Scolar; Brookfield, VT: Ashgate, 1995).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277541">
    <dcterms:title><![CDATA[The Occasion of Chaucer&#039;s &quot;Boece.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the &quot;dominant paradigm&quot; for the date and composition of Bo, dismantling &quot;several doubtful propositions&quot;--influence on Usk&#039;s &quot;Testament,&quot; Chaucer&#039;s use of Bo in his other works, Chaucer as a &quot;poor Latinist.&quot; Analyzes Bo as a &quot;late-medieval academic translation&quot; that combines various sources, intermingling text, glosses, and commentaries in a late-career, politically sensitive product, perhaps a &quot;gift to some person of power.&quot; Also assesses Cambridge University Library, MS Ii.3.21, as &quot;A Presentation Copy in the Making?&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266910">
    <dcterms:title><![CDATA[The Occlusion of Maternity in Chaucer&#039;s Clerk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Classical and medieval theories of sexual reproduction privilege the male role as active and occlude the female as passive. This occlusion is paralleled by the plot and language of ClT, in which mothering is subordinated to paternalistic concerns with lineage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264988">
    <dcterms:title><![CDATA[The Old French and Chaucerian Fabliaux: A Study of Their Comic Climax]]></dcterms:title>
    <dcterms:description><![CDATA[The comic climax, marked by carefully prepared effects of surprise, is the distinctive feature of the fabliaux.  Action more than character development or setting characterizes the preparation.  As regards genre, the fabliaux have relatively little satire, are not essentially parodies or farces, and often differ from comedy as usually defined. They are most like the joke, which depends on a culminating punch line.  In CT Chaucer extends the comic possibilities of the fabliau to the full, and in MerT he overextends them: he mixes in too many literary materials and the comic climax misfires.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262474">
    <dcterms:title><![CDATA[The Old Man and the Earth: Alterity and Otherness of a Medieval Story]]></dcterms:title>
    <dcterms:description><![CDATA[Comparing the old man in Hemingway&#039;s &quot;The Old Man and the Sea&quot; and the old man in PardT, Boitani explores the medieval &quot;other&quot; or &quot;discarded image of the universe,&quot; which depends on a &quot;hermeneutic openness&quot; that makes the modern reader perceive the &quot;modernity&quot; of medieval literature and specifically the PardT.  Treats the quest for death, the psychological character of the old man, and the uncanniness of death.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264428">
    <dcterms:title><![CDATA[The Old Man in &#039;The Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Old Man in PardT represents a fusion of divine force with the sense of futility and remorse that accompany physical aging--a motif found in medieval lyrics, Villon, and in later writers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266948">
    <dcterms:title><![CDATA[The Old Man in &#039;The Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the old man and the three rioters in PardT, reading the old man as an Everyman figure with the problem of old age as he searches for permission from God to be penitent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268464">
    <dcterms:title><![CDATA[The Old Man in Chaucer&#039;s Pardoner&#039;s Tale: An Interpretative Study of His Identity and Meaning]]></dcterms:title>
    <dcterms:description><![CDATA[Richardson surveys various interpretations of the Old Man in PardT. Concentrates on the imagery of Mother Earth and of suicide, arguing that the Old Man can be seen as the Pardoner&#039;s undying soul.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264155">
    <dcterms:title><![CDATA[The Old Order and the &#039;Newe World&#039; in the General Prologue to the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Knight and the pilgrims in his group represent the physical world and its transformation, the Clerk and his group reflect the changes in the intellectual sphere of society, and the Plowman and the Parson are the ideal representatives of the spiritual realm of society, while the other pilgrims in this group are indicative of the decline of spiritual values.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274272">
    <dcterms:title><![CDATA[The Old Swedish &quot;Trohetvisan&quot; and Chaucer&#039;s &quot;Lak of Stedfastnesse&quot;: A Study in a Medieval Genre.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers &quot;Trohetvisan&quot; and Sted in light of their possible historical allusions and literary conventionality, exploring similarities and differences, and concluding that Chaucer&#039;s poem is best regarded as &quot;undated and unaddressed,&quot; a poem &quot;written within a popular genre [complaint against the world] in the ballade format.&quot; Also suggests that Boethius&#039;s influence on Chaucer&#039;s lyrics may be more limited or indirect than often thought, and provides in Appendix B the text of Sted with notes that document the conventionality of its phrasings in a wide range of analogues.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270349">
    <dcterms:title><![CDATA[The Old Testament of Babylon: A Rereading of Chaucer&#039;s &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads KnT as a veiled, enigmatic &quot;literary game,&quot; disclosing it to be a &quot;pagan analogue of the Old Testament&quot; and a prefiguration of the New, ripe with figurative characters and events, and deeply inscribed with archteypes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272108">
    <dcterms:title><![CDATA[The Old Way and the Parson&#039;s Way: An Ironic Reading of the Parson&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Reads ParsT as &quot;just another tale&quot; (rather than the crescendo of CT), adducing Boethian aesthetic and moral attitudes, Aristotelian poetics, and the sequence of the last four tales as evidence that we should read the penitential message of ParsT ironically. The Ret is the genuine ending of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276446">
    <dcterms:title><![CDATA[The Old Whore and Mediaeval Thought: Variations on a Convention.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores a variety of sources, analogues, and backgrounds to WBPT and to the characterization of the Wife of Bath:  the Bible (including St. Paul), St. Jerome, Philippe de Meziere&#039;s &quot;Presentation Play,&quot; the tradition of the Ovidian &quot;vetula&quot; and La Vieille, and related materials, including artistic renderings. Offers an allegorical (or exegetical, patristic, or iconographical) reading of the Wife as a figure of carnal old age whose character and views are undercut ironically. ]]></dcterms:description>
</rdf:Description></rdf:RDF>