<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/277012">
    <dcterms:title><![CDATA[The Poet&#039;s &quot;Matere&quot;: Materiality, Temporality, and the Making of Literary History in Chaucer and Lydgate&#039;s Inset-Lyric Poems.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Chaucer&#039;s and Lydgate&#039;s inset lyrics for the ways that they imply &quot;a sense of poetry as an assemblage of physical materials collected from the past, and poets as the collectors and mediators of those materials.&quot; Considers aspects of BD; Lydgate&#039;s &quot;Temple of Glas&quot; and &quot;Siege of Thebes&quot;; and Cambridge University Library, MS Gg.4.27.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261992">
    <dcterms:title><![CDATA[The Poet&#039;s Last Words: Text and Meaning at the End of the Parson&#039;s Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Manly&#039;s reordering of the final lines of ParsP in his 1928 edition is contested by manuscript evidence, Chaucer&#039;s general usage of pronouns, and the intelligibility and literary excellence of the original version.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277419">
    <dcterms:title><![CDATA[The Poetic Field, I: Old and Middle English Language and Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Concentrates on the relationship between Old and Middle English poetic forms, especially during the transition from Old to Middle English, focusing on the &quot;Soul&#039;s Address to the Body&quot; and &quot;The Ormulum&quot; before concluding with a discussion of Chaucer&#039;s and the &quot;Gawain&quot;-poet&#039;s methods]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275205">
    <dcterms:title><![CDATA[The Poetic Form of Voice in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on the circle rhyme in the second book of HF, which reflects the theory of poetic form and voice as found in the vision itself.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265776">
    <dcterms:title><![CDATA[The Poetic Subject from Chaucer to Spenser]]></dcterms:title>
    <dcterms:description><![CDATA[In the development of the literary subjective &quot;I,&quot; Chaucer&#039;s work--especially KnT with its images of prison and mirrors that become images for the exploration of subjectivity--greatly influenced subsequent writers from Hoccleve to Spenser.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270076">
    <dcterms:title><![CDATA[The Poetic Technique of Enjambment in Chaucer&#039;s Poems: The Case of Five Sentence Elements (S, Aux, V, O, C)]]></dcterms:title>
    <dcterms:description><![CDATA[Kumamoto examines eleven syntactical patterns used in conjunction with poetic enjambment. Chaucer&#039;s poetry contains more enjambment than do three anonymous romances included for comparison--and Chaucer uses enjambment more in his early poetry (BD, HF, PF) than in KnT, MilT, and RvT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274018">
    <dcterms:title><![CDATA[The Poetic Voices of John Gower: Politics and Personae in the &quot;Confessio Amantis.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Gower&#039;s intention in &quot;Confessio Amantis&quot; is both &quot;poetic, as well as political.&quot; Emphasizes how Chaucer and Gower are concerned with &quot;authority and experience&quot; in their poems. Discusses WBT in relation to Gower&#039;s &quot;Tale of Florent.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277586">
    <dcterms:title><![CDATA[The Poetics of Alchemical Engagement: The Allegorical Journey to God in Ripley and Norton after Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;fifteenth-century alchemical poets, George Ripley and Thomas Norton, perceived themselves to be &#039;Chaucerian&#039; in far deeper ways than has been recognized,&quot; joining &quot;author, reader and pilgrim on an essentially hermeneutical journey to Wisdom,&quot; and perceiving themselves to share&quot; with Chaucer &quot;the Boethian belief&quot; that perception of the supernatural can be achieved. Includes discussion of Ripley&#039;s and Norton&#039;s uses of CYPT and reads ClPT for ways Chaucer engages Heraclitus&#039;s &quot;river of time,&quot; challenges Petrarch&#039;s &quot;debunking&quot; of the Middle Ages, and presents Walter and Griselda&#039;s marriage as a union of &quot;Time with Eternity, and the human with the divine.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267180">
    <dcterms:title><![CDATA[The Poetics of Alliteration : Readings of Medieval English Alliterative Verse]]></dcterms:title>
    <dcterms:description><![CDATA[An aural history of alliterative verse in English, from Caedmon&#039;s Hymn to &quot;traces&quot; and imitations in modern poetry, with emphasis on medieval tradition. First delivered as a plenary address at the 1998 meeting of the Southeastern Medieval Association, the text describes and exemplifies features of alliterative verse and assesses aesthetic and formal features of passages from a range of lyric, narrative, and drama. Chaucer is mentioned throughout, although no passage from his work is discussed. The CD includes Gaylord&#039;s readings of the poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261323">
    <dcterms:title><![CDATA[The Poetics of Authorship in the Later Middle Ages: The Emergence of the Modern Literary Persona]]></dcterms:title>
    <dcterms:description><![CDATA[Mentions Chaucer among poets (Guillem IX, Marcabru, Dante, and especially Langland) who helped develop the distinction between history and fiction and who showed themselves to be individuals, not for self-promotion but to identify themselves philosophically with contemporary issues.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266132">
    <dcterms:title><![CDATA[The Poetics of Authorship in the Later Middle Ages: The Emergence of the Modern Literary Persona]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the emergence of the modern, first-person persona as manifested in autocitation.  Assessing the influence of Augustine, Anselm, Ockham, and others, Kimmelman traces the development of autocitation in the  works of Guillem IX, Marcabru, and Dante, focusing primarily on Langland and    Chaucer.  Kimmelman studies Chaucer&#039;s persona most closely in LGWP but also comments on PF, TC, ClT, Ret, and CT.]]></dcterms:description>
    <dcterms:description><![CDATA[A revision of Kimmelman&#039;s dissertation.  See Dissertation Abstracts International 52 (1991): 1741A]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271811">
    <dcterms:title><![CDATA[The Poetics of Fraud: Jean de Meun, Dante, and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Traces Chaucer&#039;s and Dante&#039;s different responses to poetic &quot;representation and authority&quot; to Jean de Meun&#039;s &quot;Le roman de la rose,&quot; examining the &quot;poetics of fraud&quot; in PardT and HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265577">
    <dcterms:title><![CDATA[The Poetics of Personification]]></dcterms:title>
    <dcterms:description><![CDATA[Defines and analyzes personification as fundamental to literature and human consciousness.  Surveys the history and theory of the device and examines its roles in works by Prudentius, Chaucer, Langland, and Spenser, applying various modern critical theories, including narratology, phenomenology, semiotics, and deconstruction.]]></dcterms:description>
    <dcterms:description><![CDATA[The chapter on Chaucer considers HF and PF as works where personifications are projections of the narrator, who phenomenologically loses self through the projections.  The loss of self is similar to, or a form of, sloth or &quot;accedia.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266595">
    <dcterms:title><![CDATA[The Poetics of Religious Conversion in Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Considers biblical, historical, traditional, and hagiographical accounts of conversion, exploring Chaucer&#039;s appropriation of them to psychologize courtly love or &quot;&#039;fin&#039;amors&#039; as a surrogate religion&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275692">
    <dcterms:title><![CDATA[The Poetics of the Elegiac Dream Vision in Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;how Middle English poets deployed the dream vision genre and the elegiac mode to explore the limitations of language and interrogate the art of poetry.&quot; Includes discussion of how in BD the Black Knight&#039;s &quot;move from the closed circle of repetitive grief to the vital progress of narrative . . . parallels the poet&#039;s own literary movement from courtly lyrics to sustained narrative poetry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273565">
    <dcterms:title><![CDATA[The Poetics of Time Management from the &quot;Metamorphoses&quot; to &quot;Il filocolo&quot; and &quot;The Franklin&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the management of time in the &quot;Aeson episode&quot; of Ovid&#039;s &quot;Metamorphoses&quot; (Book VII), the Tale of Menedon in Boccaccio&#039;s &quot;Filocolo,&quot;and FranT, focusing on Medea&#039;s &quot;carmen,&quot; Tebano&#039;s magic, Dorigen&#039;s complaint, and their parallels with poetic composition. Dorigen&#039;s complaint conveys a sense of &quot;productive contingency&quot; and resists order or completion, suggesting that what remains unsaid can be powerfully evocative (as in LGW) and that the &quot;establishment of interpretive perspective . . . [is] an event that takes place in time&quot; (as in CT).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267902">
    <dcterms:title><![CDATA[The Poetics of Translation in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Yang considers several aspects of translation and the rhetoric of translation in TC: the narrator&#039;s &quot;double role&quot; as translator and author, Pandarus as translator, Diomede as a &quot;force of the translation process,&quot; Criseyde as &quot;text&quot; that is translation and retranslated, and Troilus&#039;s rise to the sphere as Chaucer&#039;s translation of Boccaccio&#039;s &quot;Filostrato&quot; from a secular to a religious poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275924">
    <dcterms:title><![CDATA[The Poetics of Trespass and Duress: Chaucer and the Fifth Inn of Court.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the &quot;the rise and coalescence of trespass law, both as a theory of legal relationality and a practice of litigation.&quot; Traces the effect of trespass law on other forms of English law and demonstrates the effect of this law on poetry. Emphasizes TC and its relationship to Boccaccio&#039;s &quot;Filostrato,&quot; highlighting how the former can be viewed through the evolution of English law.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264971">
    <dcterms:title><![CDATA[The Poetry of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[BD is an apprentice work whose chief interest is in rhetoric and ornamentation.  PF, built on neo-platonic musical principles, shows growth in command of structure.  The short poems reveal Chaucer&#039;s interest in prosodic experiment.  TC is a great love story which explores the tragic contrast between the neo-platonic ideas of unity (tradition, authority) and diversity (experience, experiment, realism).]]></dcterms:description>
    <dcterms:description><![CDATA[HF treats the same theme of authority and experience.  LGW is a serio-comic treatment of neo-platonic love doctrine.  CT combines the attitudes of the modern realist with those of the medieval neo-platonist.  It is a final rendition of the theme of unity and diversity, the one and the many.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268844">
    <dcterms:title><![CDATA[The Poetry of Gavin Douglas : Memory, Past Tradition and Its Renewal]]></dcterms:title>
    <dcterms:description><![CDATA[Consciousness of the importance of the Scottish literary tradition characterizes Douglas&#039;s work. Although &quot;The Palice of Honour&quot; is grounded in Chaucer&#039;s HF, Douglas makes it clear that his aim is different, and the latter compares Fame to Honour unfavorably. In &quot;Eneados&quot; and in the Prologues to the individual books of the poem, Doublas shows interest in tradition and in the theoretical aspects of translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276707">
    <dcterms:title><![CDATA[The Poetry of Geoffrey Chaucer: The General Prologue/The Prologue to the Parson&#039;s Tale/The Retraction]]></dcterms:title>
    <dcterms:description><![CDATA[A reading in Middle English of GP, ParsP, and Ret., accompanied by introductory liner introduction and a 12-booklet that includes the text of the poetry from F. N. Robinson&#039;s 1957 edition, withour notes or glosses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274307">
    <dcterms:title><![CDATA[The Poetry of Geoffrey Chaucer: The Parliament of Fowls and Six Lyric Poems.]]></dcterms:title>
    <dcterms:description><![CDATA[A reading in Middle English of PF, MerB, Ros, Sted, Purse, Adam, and Scogan, accompanied by a companion booklet that comprises the text, notes, and glosses based on E. T Donaldson&#039;s &quot;Chaucer&#039;s Poetry&quot; (1958).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270659">
    <dcterms:title><![CDATA[The Poetry of John Gower]]></dcterms:title>
    <dcterms:description><![CDATA[Considering the possibility that Gower &quot;was the foremost poet of his age,&quot; Yeager contrasts the poetic powers of Gower and Chaucer and compares Gower&#039;s poetic techniques in &quot;In Praise of Peace&quot; and &quot;Confessio Amantis&quot; with Chaucer&#039;s techniques in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269759">
    <dcterms:title><![CDATA[The Poetry of Praise]]></dcterms:title>
    <dcterms:description><![CDATA[Burrow explores the functions and rhetoric of praise in classical, medieval, and Renaissance poetry, with commentary on its relative paucity in modern tradition. Focuses on medieval English panegyric verse, love poetry, and devotional poetry, with particular attention to &quot;Beowulf&quot; and Chaucer&#039;s works, though ranging widely in Old and Middle English poetry and assessing Spenser&#039;s &quot;Faerie Queene&quot; and Tennyson&#039;s &quot;Idylls of the King.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[The discussion of Chaucer (pp. 101-49) concentrates on the poet&#039;s rhetorical uses of intensifiers and other forms of &quot;epideictic magnification&quot; (both serious and satirical), examining GP, HF, praise of women and leaders, and descriptions of individuals, particularly Troilus and Criseyde.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267235">
    <dcterms:title><![CDATA[The Poetry of Suffering in Book V of Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[Close reading of three passages on Troilus&#039;s suffering (5.218-38, 540-53, 1674-1722) reveals an intensification of emotion through &quot;rhetorical figures of compression and repetition and by cascades of rhyme sounds within the rhyme royal forms.&quot; The reader&#039;s sympathy with Troilus is thus heightened, producing relatively homogeneous interpretations of the text.]]></dcterms:description>
</rdf:Description></rdf:RDF>