<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/273613">
    <dcterms:title><![CDATA[The Pace of Praise: Might Theology Walk Together with Literature?]]></dcterms:title>
    <dcterms:description><![CDATA[Focusing on TC, argues that Chaucer relied heavily on previous works, primarily Dante&#039;s &quot;Divina commedia,&quot; for theological and linguistic direction. Contends that Chaucer, like Dante, does not merely regurgitate biblical narratives, but expands on them, and states that Chaucer&#039;s works display a sincere devotion to the Virgin, the Crucifixion, and the Resurrection, identified &quot;as characteristically Dantean.&quot; Also discusses ABC and briefly mentions SNT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272297">
    <dcterms:title><![CDATA[The Pagan Setting of the &#039;Franklin&#039;s Tale&#039; and the Sources of Dorigen&#039;s Cosmology]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Dorigen&#039;s lament is &quot;not necessarily Christian,&quot; derived as it is from Boethius&#039;s &quot;Consolation of Philosophy&quot; and &quot;spiced with reminiscences&quot; of Ovid&#039;s &quot;Metamorphoses.&quot; Reads the lament as &quot;completely consonant with what Chaucer regarded as pagan philosophy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267273">
    <dcterms:title><![CDATA[The Pageant of the Sins]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the pageant of sins in the first book of Edmund Spenser&#039;s Faerie Queene as a reflection of one stage in the development from the Pauline &quot;theological&quot; notion of sin to a &quot;material-psychological&quot; understanding. Compares Spenser&#039;s depiction with Chaucer&#039;s in ParsT, which is based on a Boethian notion of sin as a failure to recognize the nature of goodness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271940">
    <dcterms:title><![CDATA[The Painted Chamber of Westminster, the Fall of Tyrants and the English Literary Model of Governance]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses biblical kings represented in the &quot;camera depicta&quot; of the Westminster Chamber, also treated in several literary works on kingship, including MkT and a short passage in ParsT. The Chamber&#039;s murals proclaim the Plantagenet kings to be &quot;ideal just warriors&quot; and warn that immorality in a royal family &quot;becomes a pathology of the state.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272905">
    <dcterms:title><![CDATA[The Pairing of the &#039;Franklin&#039;s Tale&#039; and the &#039;Physician&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the plots and characters of FranT and PhyT, arguing that they share parallels that are &quot;significant&quot; and &quot;quite possibly intentional.&quot; Focuses on Dorigen and Virginia.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269078">
    <dcterms:title><![CDATA[The Palgrave Literary Dictionary of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Lists and describes Chaucer&#039;s works, major characters, sources, influences, themes, genres, and allusions; several manuscripts, editions, and scholars; and people and places in Chaucer&#039;s life. Alphabetical arrangement of some 720 entries, with a brief chronology of Chaucer&#039;s life and a short bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270666">
    <dcterms:title><![CDATA[The Palice of Honour: Gavin Douglas&#039; Renovation of Chaucer&#039;s House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Honeyman situates Palice of Honour within the development of an autonomous tradition of Scottish poetry, addressing the work as a self-aware response to HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261795">
    <dcterms:title><![CDATA[The Palinode, the Narrator, and Pandarus&#039;s Alleged Incest]]></dcterms:title>
    <dcterms:description><![CDATA[Pandarus does not commit incest with Criseyde.  Chaucer&#039;s contemporaries would not have allowed it, and the text itself, while titillating, does not admit of it.  One discerns the narrator expressing his own involvement with the heroine, but there is no indication that Pandarus shares the narrator&#039;s lust.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271582">
    <dcterms:title><![CDATA[The Panage Papers: From Cyprus to the Ozarks, 1942-55]]></dcterms:title>
    <dcterms:description><![CDATA[Presents the personal and pedagogical diary of Dr. John Panage, including his teaching career at John Brown University. The CD records a class session of October 9, 1972, conducted by Panage, that pertains to Chaucer&#039;s GP, including the teacher&#039;s and students&#039; readings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270640">
    <dcterms:title><![CDATA[The Paper Stocks of the Beryn Scribe]]></dcterms:title>
    <dcterms:description><![CDATA[Mosser assesses the watermarks and paper stock of the ten manuscripts attributed to the &quot;Beryn Scribe,&quot; to establish their dates and relative chronology.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271737">
    <dcterms:title><![CDATA[The Paradox of Form: &#039;The Knight&#039;s Tale&#039; and Chaucerian Aesthetics]]></dcterms:title>
    <dcterms:description><![CDATA[Several features of KnT indicate that the rules and forms of chivalry can dignify conduct but at the same time threaten to overwhelm or undercut what they are intended to achieve. Similar threats of form overwhelming content are evident in the tale&#039;s treatment of time, its overt structural patterning, its uses of &quot;occupatio,&quot; and its offering of aesthetic order in place of divine perfection.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268381">
    <dcterms:title><![CDATA[The Paradox of the Mystical Text in Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Jenkins surveys scriptural, Latin patristic, Anglo-Saxon, and late-medieval English representations and appropriations of mysticism, arguing that &quot;medieval indeterminacy&quot; is in many ways epistemologically and theologically grounded in mysticism. Includes discussion of Pearl in comparison with BD as, respectively, failed mysticism and mockery of mysticism. Also reads TC as a &quot;satirical parody&quot; of motifs drawn from mysticism that leads its audience to &quot;true spiritual desire.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263499">
    <dcterms:title><![CDATA[The Paradox of the Narrative Styles in Chaucer&#039;s &#039;Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The traditional paratactic style of folktales and a literary style emphasizing causation and motivation relate to allegorical themes:  Walter&#039;s self-centeredness and Griselda&#039;s self-effacing love.  A markedly different style in the Envoy relates to love neither totally self-centered nor completely other-oriented.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274205">
    <dcterms:title><![CDATA[The Paratactic Structure in the &quot;Canterbury Tales&quot;: Two Antecedents of the Modern Short Story]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s innovations in CT &quot;announce the ulterior evolution of the modern short story,&quot; focusing on NPT and WBPT as &quot;unequivocal precursors&quot; to the modern genre in their techniques of representing time, space, characters, and narrators, and in the openness of their endings]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273136">
    <dcterms:title><![CDATA[The Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys current and past scholarship on Chaucer&#039;s Pardoner. Provides historical background on the office and practices of pardoners in the late medieval Church and reviews debate over Pardoner&#039;s &quot;sexual ambiguity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275996">
    <dcterms:title><![CDATA[The Pardoner and His &quot;Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Catalogues the contours of criticism of the Pardoner in PardT, including critical praise of the tale&#039;s alleged &quot;superiority as a tale.&quot; Argues that the pilgrims&#039; revulsion toward the Pardoner is rooted in his homosexual identity, which is connected to performance of his tale. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263516">
    <dcterms:title><![CDATA[The Pardoner and the Host: Chaucer&#039;s Analysis of the Canterbury Game]]></dcterms:title>
    <dcterms:description><![CDATA[The Pardoner&#039;s motivation is understandable if we hear his prologue and tale through the ears of Harry Bailly; the Pardoner&#039;s performance is not merely one more ad hominem attack by one of the pilgrims but a questioning of the story-telling rules established by the Host.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272091">
    <dcterms:title><![CDATA[The Pardoner and the Second Nun: A Defense of the Bradshaw Order]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the theme of idleness and the triads of characters in PardT and SNT encourage us to read these tales in sequence--a feature of the ordering of the fragments of CT proposed by Henry Bradshaw.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275294">
    <dcterms:title><![CDATA[The Pardoner as Huckster: A Dissent from Kittredge.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the Pardoner as a &quot;foot-in-the-door salesman&quot; who is confident in his own skills and believes that his &quot;frankness is disarming.&quot; The &quot;agonized sincerity&quot; that George Lyman Kittredge perceived in lines PardT 6.916-18 is not &quot;agonized&quot; but merely apparent, and Pardoner&#039;s silence results from surprise and anger at the force of the Host&#039;s rejoinder.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270535">
    <dcterms:title><![CDATA[The Pardoner as Preacher]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the rhetorical power of PardT in light of the conventions and stylistic features of medieval sermons. The Pardoner adheres to most conventions effectively, but his &quot;delight in his own powers of persuasion and the purpose of his preaching&quot; are &quot;clearly at odds&quot; with sermon making.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269376">
    <dcterms:title><![CDATA[The Pardoner in Canterbury: Class, Gender, and Urban Space in the Prologue to the Tale of Beryn]]></dcterms:title>
    <dcterms:description><![CDATA[Sturges assesses the Pardoner and Kit from the Prologue to Beryn as &quot;comic critiques&quot; of fifteenth-century urban concerns about class and gender. Three metaphors define urban space in the narrative: cathedral, walls, and tavern.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267822">
    <dcterms:title><![CDATA[The Pardoner in the &#039;Dogges Boure&#039; : Early Reception of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[The reception of the Pardoner can be more fully understood by examining medieval preachers&#039; and orators&#039; uses of examples, or stories that would &quot;excite&quot; an audience to behave virtuously. By &quot;laying bare&quot; his own selfish desires, the Pardoner elicits rage from the Host and the pilgrims, ironically making the audience desire morality. The Pardoner&#039;s reception can also be understood more effectively by analyzing manuscript variants and by seeking to understand why the audience responds to the Pardoner&#039;s challenge.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266545">
    <dcterms:title><![CDATA[The Pardoner Veiled and Unveiled]]></dcterms:title>
    <dcterms:description><![CDATA[Provides Freudian and Lacanian analysis of two references to veils in the GP sketch of the Pardoner and the Host&#039;s threat at the end of PardT.  The Pardoner&#039;s vernicle signifies his collusion with masculinist equations of penis and word, while his other veil indicates that masculinity is &quot;only a role, never achieved but only assumed.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274193">
    <dcterms:title><![CDATA[The Pardoner, a Castrato: A Critical Essay of Geoffrey Chaucer&#039;s &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Uses details of the Pardoner&#039;s description in the GP and his interactions with other pilgrims to support the hypothesis that Chaucer depicts him as a castrato and satirize an aspect of corruption in the medieval Church.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263004">
    <dcterms:title><![CDATA[The Pardoner, the Host, and the Depth of Chaucerian Insult]]></dcterms:title>
    <dcterms:description><![CDATA[The potential medieval etymologizing of &quot;envoluped&quot; and the association of &quot;fundament&quot; with Christ and his Church deepen the significance of the exchange between the Host and the Pardoner.]]></dcterms:description>
</rdf:Description></rdf:RDF>