<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/272119">
    <dcterms:title><![CDATA[&#039;Chaucerian Realist&#039;: A Study of Mimesis in the Canterbury Pilgrimage]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Chaucer&#039;s realism, seeking to define it &quot;inductively&quot; through close reading of GP, the links between the tales, and the &quot;confessional monologues&quot; of CT. Focuses on concrete descriptions, dialogue, and &quot;haphazard organization and juxtaposition&quot; as devices.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266832">
    <dcterms:title><![CDATA[&#039;Cleansing&#039; the Discipline: Ernst Robert Curtius and his Medievalist Turn]]></dcterms:title>
    <dcterms:description><![CDATA[Curtius sought to &quot;cleanse&quot; the study of medieval texts from emerging aesthetic and sociological readings by demonstrating the superiority of philological scholarship in his extensive review of Hans H. Glunz&#039;s study, &quot;Die LiterarĐsthetik des EuropĐischen Mittelalters: Wolfram-Rosenroman-Chaucer-Dante&quot; (1937).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264957">
    <dcterms:title><![CDATA[&#039;Clericus Adam&#039; and Chaucer&#039;s &#039;Adam Scriveyn&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Clericus Adam,&quot; a short anti-feminist poem from the twelfth century, makes one wonder whether Chaucer may not be playfully saying, &quot;Look here, &#039;Clericus Adam&#039;, you little bungler, don&#039;t you disfigure my handiwork the way your namesake disfigured that of God.&quot;  The comic allusion would seem to rest ultimately on the parallel between the artist as creator and God as Creator, an idea approximated by various medieval writers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266606">
    <dcterms:title><![CDATA[&#039;Clerkes, Poetes, and Historiographs&#039;: Chaucer, Langland, and the Literature of History]]></dcterms:title>
    <dcterms:description><![CDATA[Identified by Caxton as &quot;historiographs,&quot; Chaucer and Langland write as historians and consider the meaning of writing history.  In TC, Chaucer discusses sources and antiquity as marks of authority and hindrances to reading.  The English literary canon is also a historical canon.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263291">
    <dcterms:title><![CDATA[&#039;Cloude,--and Al That Y of Spak&#039;: &#039;The House of Fame,&#039; v. 978]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Cloude,&quot; the word that ends the narrator&#039;s description of his celestial journey, calls attention to the diminished vision of Geffrey compared to that of Boethius&#039;s Thought, and the blurred understandings and dream categories offered in HF.  The word may derive from Macrobius&#039;s &#039;prima nebula&#039; of sleep.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265354">
    <dcterms:title><![CDATA[&#039;Coillons,&#039; Relics, Skepticism and Faith on Chaucer&#039;s Road to Canterbury: An Observation on the Pardoner&#039;s and the Host&#039;s Confrontation]]></dcterms:title>
    <dcterms:description><![CDATA[A discussion of doubtful relics in CT, with emphasis on the skepticism of both the Pardoner and the Host.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266989">
    <dcterms:title><![CDATA[&#039;Commune Profit&#039; and Libidinal Dissemination in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Jürgen Habermas&#039;s concept of the &quot;public sphere&quot; shares features with Chaucer&#039;s notion of &quot;commune profit&quot; in PF. Both concepts suggest or insist that the political body must be open and generative, cognizant of the physical as well as the intellectual or spiritual.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262177">
    <dcterms:title><![CDATA[&#039;Compilatio&#039; and the Wife of Bath: Latin Backgrounds, Ricardian Texts]]></dcterms:title>
    <dcterms:description><![CDATA[Considers WBP as a compilation, &quot;pieced together of verbatim translation&quot; from a fuller text by Jerome.  WBP represents &quot;Englished&quot; Latin, cut free from &quot;control and indoctrination&quot; of a closed Latin tradition and thus &quot;seditious and dangerous,&quot; subject to &quot;free use and abuse,&quot; as the Wife takes liberties with the source.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272382">
    <dcterms:title><![CDATA[&#039;Confessio Auctoris&#039;: Confessional Poetics and Authority in the Literature of Late Medieval England, 1350-1450]]></dcterms:title>
    <dcterms:description><![CDATA[Looks at confessional elements in works by Chaucer, Langland, Gower, Usk, and Hoccleve, ultimately arguing that such practice is central to an understanding of early English vernacular literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265962">
    <dcterms:title><![CDATA[&#039;Considerynge the Beste on Every Syde&#039;: Ethics, Empathy, and Epistemology in the &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Much of the ambivalence of FranT comes from the various ways the characters perceive the world and the ways they act on these perceptions. ]]></dcterms:description>
    <dcterms:description><![CDATA[  By analyzing the different perspectives we can identify with the &quot;moral&quot; behaviors of the characters and discern the &quot;model for human relationships&quot; that they supply.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263564">
    <dcterms:title><![CDATA[&#039;Contentio&#039;: The Structural Paradigm of &#039;The Parliament of Fowls&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Questioning the validity of searches for unity, Walker posits structural disunity residing in &#039;contentio&#039; to account for how PF &quot;hangs together.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262113">
    <dcterms:title><![CDATA[&#039;Cosmographia Memoriae&#039; : A Parallel Text of the F Version of &#039;The Prologue to the Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Printed as a separate paperback volume.  ]]></dcterms:description>
    <dcterms:description><![CDATA[In this parallel text, sources and analogues are parallel line by line with LGWP, a &quot;medieval &#039;Cosmographia&#039; of intricate literary fabrics.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264765">
    <dcterms:title><![CDATA[&#039;Cosyn to the Dede&#039;: The &#039;Canterbury Tales&#039; and the Platonic Tradition in Medieval Rhetoric]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer stands firmly in the tradition of &quot;Phaedrus&quot; and &quot;Timaeus&quot; by virtue of the &quot;imagistic&quot; and figural view of reality he presents in CT.  References to Boethius&#039; &quot;Consolation of Philosophy&quot; further emphasize the Platonic approach to rhetoric.  In CT the words &quot;pleynly&quot; spoken are but signs to Truth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265067">
    <dcterms:title><![CDATA[&#039;Cosyn&#039; and &#039;Cosynage&#039;: Pun and Structure in the &#039;Shipman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The recognition of the sexual puns on the words &quot;cosyn&quot; and &quot;cosynage&quot; determines the structure of ShT, as the narrative shifts its balance from relationship to deception.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262385">
    <dcterms:title><![CDATA[&#039;Courtly Love&#039; and the Middle English &#039;Romaunt of the Rose&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Levey surveys recent critical articles and reviews relevant to courtly love (as well as &quot;fin&#039;amour&quot; and &quot;fals&#039;amour&quot;) and examines the convention as it is used in Rom, exploring the validity of charges that the concept is literary, esoteric, and artificial.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261300">
    <dcterms:title><![CDATA[&#039;Courtly&#039; Love in Chaucer&#039;s Troilus and Criseyde: Fast Track of the Seven Deadly Sins]]></dcterms:title>
    <dcterms:description><![CDATA[Troilus&#039;s illicit love causes his involvement with the Seven Deadly Sins.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264406">
    <dcterms:title><![CDATA[&#039;Covent&#039; in the &#039;Summoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In SumT &quot;covent&quot; refers not only to the Friar&#039;s house, but also to witches&#039; &quot;coven,&quot; as indicated by various references to witchcraft or demonology--thus suggestiong that the friar is a witch.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272714">
    <dcterms:title><![CDATA[&#039;Craft&#039; and &#039;Sentence&#039; in Chaucer&#039;s House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Rejects the traditional three-part structure of HF and assesses the &quot;structural function of its two juxtaposed narratives,&quot; i.e., the summary of Virgil&#039;s &quot;Aeneid&quot; and the journey, considering the poem&#039;s relation with Dante&#039;s &quot;Divine Comedy, the &quot;Aeneid,&quot; and the tension between allegorical and romantic understandings of Virgil&#039;s work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265075">
    <dcterms:title><![CDATA[&#039;Cum Grano Salis&#039;: A Note on the &#039;Prioress&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The use of the ambiguous word &quot;greyn&quot; in 7.662 indicates that Chaucer had more than one meaning in mind.  One of the intentional referents probably was a grain of salt, because of the religious significance of salt.  &quot;Greyn&quot; also suggests the seed, which illustrates the Christian concept of life through death.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268141">
    <dcterms:title><![CDATA[&#039;Cursed Folk of Herodes Al New&#039;: Supersessionist Typology and Chaucer&#039;s Prioress]]></dcterms:title>
    <dcterms:description><![CDATA[Examines traditional depictions of Jews; points to a parallel between the murder of the clergeon in PrT and ritual murder; links the clergeon with Christ and the Prioress with the Virgin; and concludes that PrT functions as a divinely inspired condemnation of blasphemers, doubters, and the Prioress&#039;s detractors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265481">
    <dcterms:title><![CDATA[&#039;Daisy Miller&#039; and Chaucer&#039;s &#039;Daisy&#039; Poem: The Prologue to the Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Daisy Miller was modelled on &quot;another martyr to love&quot;:  Alceste of LGWP.  Tintner documents James&#039;s familiarity with Chaucer and his imitations of Chaucerian diction.  She reads Daisy as an inexpert, desperate lover similar to the victims of love in LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262110">
    <dcterms:title><![CDATA[&#039;Dante in Ynglissh&#039; : Chaucer and Pier della Vigna (Inferno 13 and the Prologue to the Legend of Good Women)]]></dcterms:title>
    <dcterms:description><![CDATA[Explores American fascination with Dante as a way to get &quot;some purchase on Dante,&quot; e.g., K. Taylor&#039;s contrast of &quot;Dante with Chaucer to erect Chaucer the &#039;anti-Dante&#039;.&quot;  Examines the influence of Dante on LGWP and briefly on HF.  Shoaf concludes that &quot;current efforts to detheologize Dante, like current efforts to fashion a purely humanist Chaucer, are alike implicated in a resistance to judgment...(and) a revulsion from Christianity.&quot;  Chaucer was a Christian of &quot;profoundly discriminatory imagination&quot;.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270316">
    <dcterms:title><![CDATA[&#039;Daphnaida&#039; and Spenser&#039;s Later Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Modeled on Chaucer&#039;s BD, although reshaped &quot;radically,&quot; Spenser&#039;s &quot;Daphnaida&quot; is less a &quot;traditional lament&quot; than a &quot;warning against grieving too much.&quot; Compares and contrasts the two poems to clarify their similarities and differences, and discusses &quot;Daphnaida&quot; as a transitional poem in Spenser&#039;s career.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264607">
    <dcterms:title><![CDATA[&#039;Daunger&#039;: Specimen of Chaucer Lexicon]]></dcterms:title>
    <dcterms:description><![CDATA[The article analyses and describes a Chaucerian key-word &quot;danger&quot; and its derivative &quot;dangerous&quot; in respect of etymology, semantic development, frequency of occurence, form, riming structure, grammatical and semantic collocation, association, and senses.]]></dcterms:description>
    <dcterms:description><![CDATA[ In Line 514 of WBT, Chaucer ingeniously makes a pun on &quot;daungerous&quot; (difficile, aloof: dangerous), where there might be an additional pun on &quot;love-danger,&quot; the only occurence of which seems to be found in &quot;Pearl&quot; (line 11).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265358">
    <dcterms:title><![CDATA[&#039;Debt&#039; and the Wife as a Verbal Exchanger in &#039;The Shipman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The verbal play on &quot;debt&quot; is elaborate and systematic in ShT, clarifying the social role and response of the wife.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Keiko Hamaguchi, Chaucer and Women (Tokyo: Eihosha, 2005).]]></dcterms:description>
</rdf:Description></rdf:RDF>