<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/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:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266325">
    <dcterms:title><![CDATA[The Old Wives&#039; Tale and Dryden]]></dcterms:title>
    <dcterms:description><![CDATA[Recognizing parallels between &quot;The Wife of Bath and Her Tale&quot; and contemporary female practice, Dryden intensified the elements of faery and magic in his version of the &quot;Tale.&quot;  In addition, he greatly reduced the lively presence of the Wife, producing a view of women and their emancipatory endeavors that is substantially more negative than Chaucer&#039;s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261316">
    <dcterms:title><![CDATA[The Olde Daunce: Love, Friendship, Sex, and Marriage in the Medieval World]]></dcterms:title>
    <dcterms:description><![CDATA[Thirteen essays by various authors. For six individual essays that pertain to Chaucer, search for Olde Daunce under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264368">
    <dcterms:title><![CDATA[The One and the Many in &quot;The Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[The relations between diversity and unity, and between particular and general, are a major issue in CT, and emerge especially in the emphasis on profession, the sexes, and the relation of individual experience to normative authority.  Emphasis on profession, strong in GP, re-emerges in the fabliaux, and is exploited most richly in the &quot;professional&quot; confessions of the Wife, Pardoner, and Canon&#039;s Yeoman; the entire CT is a &quot;metafabliau.&quot; ]]></dcterms:description>
    <dcterms:description><![CDATA[Male and female stereotypes are established in the contrasting portraits of Wife and Parson in GP, and are reinfored by the notion of &quot;auctoritee.&quot;  Despite the value clearly granted to diversity, there is thus a certain &quot;thrust toward unity&quot; in the poem, which is seen also in a strong closural drive in CTY and ParsT--and in Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267554">
    <dcterms:title><![CDATA[The One Text and the Many Texts]]></dcterms:title>
    <dcterms:description><![CDATA[Despite trends in textual theory and the capability of representing multiple versions of a text electronically, editors should present eclectic, reconstructed texts--not as representations of lost originals but as texts that best explain &quot;all the extant documents&quot; and give readers convenient points of departure. Robinson draws examples from Federico Sanguineti&#039;s discussion of Dante&#039;s Commedia, K. Wachtel and D. C. Parker&#039;s discussions of the Greek New Testament, and Elizabeth Solopova&#039;s GP on CD-ROM.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269848">
    <dcterms:title><![CDATA[The Opacity of Renunciation in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the motif of renunciation in CT, ranging from renunciation of poetry (MkT, ParsT, and Ret) to renunciation of music and high-flown rhetoric (ManT), renunciation of curiosity (MilT, CYT), and praiseworthy acts of renunciation (ClT, FranT). These renunciations have a variety of effects, both literary and philosophical.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275128">
    <dcterms:title><![CDATA[The Open Access Companion to the Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Comprises thirty-six &quot;introductory essays for first-time, university-level readers&quot; of CT, written by more than thirty &quot;professional scholars,&quot; covering GP and each of the tales (two each for KnT, WBPT, and MerT), the Host and frame, Chaucer&#039;s language, his life, social conditions of his time (two chapters), the manuscripts of CT, together with a symposium that includes twelve responses to reading Chaucer. Each essay is PDF-downloadable, with study questions and bibliography; many include hyperlinks to related online material. The website is searchable and freely accessible, includes a &quot;User&#039;s Guide&quot; and a site menu on each page, and promises to add materials in the future. For the individual essays, search for The Open Access Companion to the Canterbury Tales under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267078">
    <dcterms:title><![CDATA[The Opening of Chaucer&#039;s General Prologue to The Canterbury Tales : A Diptych]]></dcterms:title>
    <dcterms:description><![CDATA[The initial thirty-four lines of GP divide into two sections of sixteen lines joined by a couplet and emphasized by capitalization in the Ellesmere manuscript. The first section treats general matters; the second, particulars. Chaucer structures the diptych with elaborate verbal symmetries focusing on death and rebirth; repeated nouns and rhyme-words confirm the pattern. As well, numerology, especially St. Augustine&#039;s exegesis of the number seventeen, highlights the spiritual significance of the division.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Harold Bloom, ed. Rebirth and Renewal (New York: Bloom&#039;s Literary Criticism, 2009), pp. 51-60.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262588">
    <dcterms:title><![CDATA[The Oral Life of the Written Ballad of the &#039;Wanton Wife of Bath&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines traditions and analogues of the ballad &quot;The Wanton Wife of Bath,&quot; a thirteenth-century Old French fabliau analogue, and post-Chaucerian versions.  Texts included for various versions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264342">
    <dcterms:title><![CDATA[The Oral Performance of Chaucer&#039;s Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[The paucity of readers in the fourteenth century and explicit statements throughout Chaucer&#039;s works indicate that his poetry was recited aloud to a live audience, at least part of the time.  Oral readings are most usefully appreciated by criteria one would apply to drama and oral performances.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265860">
    <dcterms:title><![CDATA[The Oral Undertones of Late Medieval Romance]]></dcterms:title>
    <dcterms:description><![CDATA[As a cultural mirror and cultural battleground, romance seems to blend voices from all ranges of society:  secular and sacred, rural and urban, rich and poor. As a festive processional storytelling contest, Chaucer&#039;s CT successfully imitates the play styles of the major social factions of his day. The two opposing styles of acting and speaking--the gentil and the churl--are not only apparent throughout CT but also found everywhere in the records of actual medieval festivals.  Chaucer&#039;s bold setting of these styles against each other is structuring principle of his poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264359">
    <dcterms:title><![CDATA[The Order of &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[By analysis of manuscript traditions Benson argues that there were at most two early orderings of CT.  All later orderings in manuscripts are scribal rearrangements or distortions of these two.  Both orders, one of which is the Ellesmere order, probably originated with Chaucer and differ only in the placement of the G fragment.  But the Ellesmere represents Chaucer&#039;s &quot;own final arrangement.&quot;]]></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 (Aldershot, Hants: Scolar; Brookfield VT: Ashgate, 1995).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274405">
    <dcterms:title><![CDATA[The Order of &quot;The Knight&#039;s Tale&quot; and &quot;The Tempest.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares how and to what extent Theseus in KnT and Prospero in Shakespeare&#039;s &quot;The Tempest&quot; are responsible for the initial disorder and the final order of their respective stories. Theseus progresses from aggressive engagement in the world to acceptance of Providential order; Prospero acts to re-order the results of his earlier passivity. Acceptance of Providence is more characteristic of the medieval poet than the Renaissance dramatist.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275275">
    <dcterms:title><![CDATA[The Order of the &quot;Canterbury Tales&quot; Reconsidered.]]></dcterms:title>
    <dcterms:description><![CDATA[Article not seen; no abstract available.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262346">
    <dcterms:title><![CDATA[The Order of the Passion of Jesus Christ: A Reconsideration of Eugene Deschamps&#039;s &#039;Ballade to Chaucer&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Conjectures that, while Deschamps may have met Chaucer in 1360, his &quot;Ballade to Chaucer&quot; was probably written in 1391 and reflects the association of Chaucer and Deschamps with the Order of the Passion of Jesus Christ in the late 1380s and early 1390s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265753">
    <dcterms:title><![CDATA[The Order of the Tales in the Ellesmere Manuscript]]></dcterms:title>
    <dcterms:description><![CDATA[The manuscripts and internal evidence of CT indicate that those who &quot;put the various examplars of the tales, links, and fragments in order for Ellesmere did not have any manuscript consensus to work from, and indeed, they have helped create such consensus as there is. But they do seem to have made the fullest use of whatever evidence was available to them, and the end result is more likely than any other order to represent Chaucer&#039;s own scheme.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272840">
    <dcterms:title><![CDATA[The Ordering of the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the &quot;impediments&quot; to determining the order of CT with certainly, focusing on manuscript evidence, especially the problems evident in MLE and the &quot;Rochester-Sittingbourne contradiction&quot; in the Ellesmere order of the Tales. Suggests emendation to resolve the &quot;contradiction.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268349">
    <dcterms:title><![CDATA[The Orient in Chaucer and Medieval Romance]]></dcterms:title>
    <dcterms:description><![CDATA[A series of studies focusing on depictions of the Orient and people from the Orient in medieval romances: MLT, Dido and Cleopatra from LGW, SqT, &quot;Floris and Blauncheflur,&quot; and &quot;Le Bone Florence.&quot; The introduction concentrates on how contact with the East during the Crusades encouraged the development of romance in the West.]]></dcterms:description>
    <dcterms:description><![CDATA[Heffernan compares MLT with analogous tales in Gower and Boccaccio to show how Chaucer emphasizes the role of merchants in contact with the East. The orientalism of Dido and Cleopatra is expressed in terms of pleasure and sexual excess. In SqT, Chaucer experiments with combining oriental plot and western &quot;interlace&quot; technique.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265858">
    <dcterms:title><![CDATA[The Orientation of Chaucer&#039;s &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s allusions to the Orient or to the East (e.g., to Turkey, Syria, and India) refer, on the one hand, to a practical knowledge of geography and, on the other--with ecclesiastical use of the &quot;mappae mundi&quot; in mind--to a symbolic spiritual goal, a reorientation in which East is upward.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262302">
    <dcterms:title><![CDATA[The Origin and Development of Periphrasic Auxiliary Do : A Case of Destigmatisation]]></dcterms:title>
    <dcterms:description><![CDATA[Through a largely comparative approach, the author draws on sources that have remained almost unexploited, whether dialectical or belonging to the standard language.  Evidence from Dutch, Frisian, German, and Chaucer&#039;s English (a three-year-old boy&#039;s utterance in MkT) suggests that the periphrastic auxiliary has always existed as a simplified language device typical of children&#039;s language.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263819">
    <dcterms:title><![CDATA[The Origin and Original Object of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Like Boccaccio&#039;s &quot;Il Filostrato,&quot; TC is veiled literary autobiography.  About love, TC is also about love poetry but rejects Boccaccio&#039;s philosophy and poetics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270296">
    <dcterms:title><![CDATA[The Originality of Texts in a Manuscript Culture]]></dcterms:title>
    <dcterms:description><![CDATA[Theorizes differences between grammatical/rhetorical invention and Romantic ideas of creativity and originality, commenting on Chaucer&#039;s TC and, passingly, on his Adam Scriveyn, as well as on Petrarch&#039;s adaptation of Boccaccio&#039;s tale of Griselda, Chrétien&#039;s romances, and more. Where Chaucer asks for &quot;scribal&quot; literalness in Adam, his profession that he is following his sources in TC &quot;conceals only to emphasize the richness of the grammarian-poet&#039;s embellishments,&quot; creating a kind of originality that is &quot;inter- rather than extralinear.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265070">
    <dcterms:title><![CDATA[The Originality of the &#039;Shipman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[ShT contradicts the usual view of merchants in the fabliaux.  By setting the merchant against the monk and the wife, Chaucer defies tradition and presents the merchant in a generally favorable light.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Reading the Past:  Essays on Medieval and Renaissanec Literature (Four Courts, 1996), pp. 146-64.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274977">
    <dcterms:title><![CDATA[The Origins and Make-up of Cambridge University Library MS Ff.1.6.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys what is known and what can be inferred about the origins of the so-called Findern manuscript, its scribes, manuscript affiliations, and codicological features, with recurrent comments on the works by Chaucer that are anthologized in it (PF, Purse, Pity, Venus, and extracts from LGW and Anel). Includes three appendices: the first describes the collation of the manuscript. the second accounts its watermarks, and the third lists its scribes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262887">
    <dcterms:title><![CDATA[The Origins of Comicality in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[By applying it to BD, PF, HF, TC, and CT (MilT, WBP, and GP Monk), Erzgraber tests Karl-Heinz Stierle&#039;s thesis that the &quot;object of comicality is anything that threatens a culture.&quot;  Chaucer reflects the cultural complexity of his age.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Erzgräber&#039;s Mittelalter und Renaissance in England: Von der Altenglischen Elegien bis Shakespeares Tragögien (Freiburg im Breisgau: Rombach, 1997), pp. 235-52.]]></dcterms:description>
</rdf:Description></rdf:RDF>