<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/264910">
    <dcterms:title><![CDATA[A Virgilian Source for Chaucer&#039;s &#039;White Bole&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In the astrological setting of TC (2.54-55), Chaucer refers to Taurus as a &quot;white Bole.&quot;  The epithet probably came from Virgil (Georgics, I, 217-18), perhaps through the intermediary of Macrobius&#039; &quot;Commentary on the Dream of Scipio.&quot;  It is suggested that it was &quot;to Chaucer an obvious symbol for that in human behavior which is apparently attractive but actually ugly and destructive, specifically, unrestrained indulgence of sexual desire.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263388">
    <dcterms:title><![CDATA[A Visit with Geoffrey Chaucer: The Medieval Poet Characterized for a Modern Audience]]></dcterms:title>
    <dcterms:description><![CDATA[A sixty-year-old Chaucer is represented as reading from his works to students at an English school, digressing for audience understanding; includes commentary, playscript, and videotaped reading for beginning students of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264996">
    <dcterms:title><![CDATA[A Vocabulary for Chaucerian Comedy: A Preliminary Sketch]]></dcterms:title>
    <dcterms:description><![CDATA[Aristotle&#039;s &quot;Nichomachean Ethics&quot; and &quot;Rhetoric&quot; and the Costinian &quot;Tractate&quot; can be used to anatomize comedy in CT.]]></dcterms:description>
    <dcterms:description><![CDATA[Identifying and cataloguing plot motifs and character types points to the conclusions that comedy as a genre provides both a learning experience and a catharsis of the attractiveness of the &quot;ugly, untoward&quot; emotions; that in comedy plot is subordinate to character; and that comedy&#039;s effectiveness rests upon the degree of inner plausibility of the work itself rather than upon the degree of accurate imitation of the macrocosm.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Jean E. Jost, ed.  Chaucer&#039;s Humor:  Critical Essays (Garland, 1994), 41-77.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266258">
    <dcterms:title><![CDATA[A Voice for the Prioress: The Context of English Devotional Prose]]></dcterms:title>
    <dcterms:description><![CDATA[The naive, heavily repetitive, oratorical style of PrT appears to be influenced by late-medieval devotional prose written by men for women.  Broader patterns of recurrence signal oppositions in the &quot;Tale&quot; that subvert its feminine voice and its claims to authenticity.  The rhetoric of apostrophe fails to replace the absence of the subverted voice, leaving the Prioress less a character than a style.  The article includes a chart of repetitive rhetorical devices.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265289">
    <dcterms:title><![CDATA[A Way to &#039;Gentilesse&#039;--A Reading of &#039;The Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores &quot;gentilesse&quot; as it relates to characterization in KnT  and comments on the relationship between &quot;earnest&quot; and &quot;game.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267530">
    <dcterms:title><![CDATA[A Way to Group Paintings : Chaucer&#039;s Canterbury Pilgrimage Iconographies]]></dcterms:title>
    <dcterms:description><![CDATA[Comprehensive description of four paintings pertaining to The Canterbury Tales: Blake&#039;s (1810), Stothard&#039;s (1807), Corbould&#039;s (1840), and Mileham&#039;s (1924).]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266888">
    <dcterms:title><![CDATA[A Wife, a Batterer, a Rapist : Representations of &#039;Masculinity&#039; in the Wife of Bath&#039;s Prologue and Tale]]></dcterms:title>
    <dcterms:description><![CDATA[WBT reveals the Wife&#039;s idealized vision of society. The Tale answers her society&#039;s gender inequities, which victimize both men and women, by depicting a world wherein ultimately women and men are recognized as individuals.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262778">
    <dcterms:title><![CDATA[A Windmill Under a Walnut Shell: Chaucer&#039;s &#039;House of Fame&#039; on the Illusionist Rhetoric of Systems]]></dcterms:title>
    <dcterms:description><![CDATA[Images of the cosmos based on the liberal arts appear in the epics of Martianus Capella, Bernard Silvestris, Alain de Lille, and Dante.  Chaucer parodies and humanizes the universe in HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267205">
    <dcterms:title><![CDATA[A Witness Much Abused: BL MS Harley 7334 and the Stemma of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Reexamines the &quot;paradoxical evidence&quot; of Ha4, arguing that Manly and Rickert&#039;s discussion of it was distorted by their a priori assumptions and their concluding that Chaucer&#039;s foul papers &quot;served as the exemplar&quot; of the manuscript. The affiliations of the manuscript reflect methodical collation; the character of its text suggests that it was copied from a working draft. While the &quot;tightness&quot; in its construction indicates that the scribe had all the fragments before him, its rubrics are derived rather than copied-evidence that it was copied before circulation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267322">
    <dcterms:title><![CDATA[A Woman in the Mind&#039;s Eye (and Not) : Narrators and Gazes in Chaucer&#039;s Clerk&#039;s Tale and in Two Analogues]]></dcterms:title>
    <dcterms:description><![CDATA[Christine de Pizan&#039;s version of the Griselda story emphasizes the gaze theme less than the versions by Chaucer and Petrarch do. Pizan&#039;s version is more clearly feminist than ClT, which presents a male viewpoint addressed to a community of male gazers, thinkers, and readers. ClT, however, acknowledge the force of Griselda&#039;s competitive female gaze.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270044">
    <dcterms:title><![CDATA[A Woman Medievalist Much Maligned : A Note in Defense of Edith Rickert (1871-1938)]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies Edith Rickert&#039;s role in her collaborative work with John Matthews Manly--i.e., &quot;Chaucer Life-Records&quot; and &quot;Text of the &#039;Canterbury Tales&#039;&quot;--arguing that people need to study the background of Rickert to see her as an important female medievalist and scholar.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269055">
    <dcterms:title><![CDATA[A Woman Who Talks : The Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Noji examines the Wife of Bath as a marginalized woman.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267364">
    <dcterms:title><![CDATA[A Woman&#039;s Life : The Reception History of the Wife of Bath&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the transformations of the Wife of Bath in &quot;The Wanton Wife of Bath&quot; (1600), Johnson&#039;s &quot;A New Sonnet of a Knight and a Faire Virgin&quot; (1612), Fletcher&#039;s &quot;Women Pleased&quot; (1620), &quot;Pilgrim&#039;s Progress&quot; (1678), &quot;The New Wife of Bath&quot; (1700), Gay&#039;s &quot;Wife of Bath&quot; (1711), and &quot;The Riddle&quot; of W. A. Raleigh (1895).]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272237">
    <dcterms:title><![CDATA[A Wreath of Christmas Poems [Rev. ed.]]]></dcterms:title>
    <dcterms:description><![CDATA[A selection of poems by various authors from Virgil to the twentieth century. Includes a selection from SNP (8.36-56) and its source, i.e., a facing-page selection from Dante&#039;s &quot;Paradiso.&quot; Illustrated by José Erasto. Selection slightly revised from the original edition, published in 1942 (without illustrations) as part of The Poet of the Month series.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261607">
    <dcterms:title><![CDATA[A Wyf Ther Was: Essays in Honour of Paule Mertens-Fonck]]></dcterms:title>
    <dcterms:description><![CDATA[A collection of twenty-six essays, fourteen of which address Chaucer and his works.  Includes papers presented at a 1990 conference at the University of Liege marking the retirement of Paule Mertens-Fonck.  Each essay addresses women&#039;s issues in medieval literature, including English religious literature, Anglo-Saxon literature, Langland&#039;s works, and medieval French literature.  For individual essays that pertain to Chaucer, search for Wyf Ther Was under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266172">
    <dcterms:title><![CDATA[A Yeman Had He]]></dcterms:title>
    <dcterms:description><![CDATA[With the Knight and the Squire, Chaucer&#039;s Yeoman comprises the &quot;basic English fighting unit--a unit sometimes referred to as a &#039;lance.&#039;&quot;  Details of the Yeoman&#039;s GP sketch capitalize on the various connotations of &quot;yeoman,&quot; and depict the Yeoman as a skilled warrior and forester.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266232">
    <dcterms:title><![CDATA[A Yong Squier]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the lexical and cultural meaning of &quot;squire&quot; as background to the GP sketch of the Squire.  Chaucer&#039;s portrait is an idealized one, counterpointed by the lack of rhetorical skill in SqT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265198">
    <dcterms:title><![CDATA[A-Hunting with Chaucer&#039;s Pun-Hunters]]></dcterms:title>
    <dcterms:description><![CDATA[Dor explores Chaucer&#039;s punning from the vantage point of a translator of CT into French.  Puns known as &quot;traductio&quot; and &quot;adnominatio&quot; during the Middle Ages are less easily translatable than are &quot;significatio,&quot; perhaps because of the cultural and linguistic kinship of English and French.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275786">
    <dcterms:title><![CDATA[A85-88: Chaucer&#039;s Squire and the Glorious Campaign.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides historical background to the characterization of the Squire in GP 1.85-88, focusing on the economics, politics, and tactics of the so-called &quot;Crusade of 1383&quot; (or &quot;Despenser&#039;s Crusade&quot;), the implications of the word &quot;chivachie,&quot; and ways that the Squire&#039;s military activities may have been understood negatively by Chaucer&#039;s audience, especially in contrast with those of the Knight.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272457">
    <dcterms:title><![CDATA[Abandon the Fragments]]></dcterms:title>
    <dcterms:description><![CDATA[Documents how editors&#039; presentation of CT as a sequence of fragments is misguided and encourages that the description be abandoned. The term misrepresents the evidence of the manuscripts, and is misleading because Chaucer&#039;s discontinuities are habitual. Encourages editors to follow the best &quot;structural labeling&quot; among the manuscripts, perhaps that of the Ellesmere manuscript.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268561">
    <dcterms:title><![CDATA[Abandoned Women: Rewriting the Classics in Dante, Boccaccio, and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Hagedorn emphasizes the variety of versions of classical stories of abandoned women (Statius, Virgil, and Ovid) and the ways they were adapted in medieval tradition (e.g., Dante&#039;s &quot;Inferno&quot;; Boccaccio&#039;s &quot;Teseida,&quot; &quot;Fiammetta,&quot; and &quot;Amorosa Visione&quot;; and Chaucer&#039;s KnT, TC, and LGW). In Statius&#039;s &quot;Thebaid,&quot; Boccaccio&#039;s &quot;Teseida,&quot; and Chaucer&#039;s KnT, Theseus tries to correct and channel the aggressions of the Theban royal family, despite hints of corruption in his past. In LGW (Ariadne), Theseus reflects his dubious past; in Anel, the amorous past of Arcite parallels Theseus&#039;s. Hagedorn explores relationships with &quot;Heroides&quot; elsewhere in LGW, arguing that the Dido account indicates more than one way to tell a story. TC reads &quot;Heroides&quot; subversively, since its tales of abandoned women in TC underly the abandonment of Troilus, a man.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266070">
    <dcterms:title><![CDATA[Abandoned Women: Studies of an Ovidian Theme in the Works of Dante, Boccaccio, and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Ovid undercuts epic male heroism, treating the emotional cost to the women deserted by Achilles, Theseus, Ulysses, and Aeneas and casting a shadow on these heroes in the works of Dante, Boccaccio, and Chaucer (KnT, LGW, TC).  Bakhtin&#039;s views illuminate the conflict between Virgilian and Ovidian treatments of Dido in Chaucer&#039;s work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277392">
    <dcterms:title><![CDATA[Abdulrazak Gurnah: Ein Leben zwischen den Welten.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the fiction of Abdulrazak Gurnah as a cross-cultural, internationalist writer. Lists Chaucer among global writers referred to in Gurnah&#039;s novels &quot;Memory of Departure&quot; (1987) and &quot;Gravel Heart&quot; (2017), briefly describes CT, observes that Gurnah lives in Canterbury, and suggests that sexual activities in &quot;Gravel Heart&quot; may allude to MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277526">
    <dcterms:title><![CDATA[Abiding Tides: Oceanic Influences on Geoffrey Chaucer&#039;s &quot;The Franklin&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;tidal influences&quot; in FranT encourage &quot;feminist interpretation&quot; of Dorigen&#039;s promise, &quot;identification of an environmentalist sensibility&quot; in the tale, and attention to human subjection &quot;to natural cycles and forces.&quot; Furthermore, &quot;tidal patterns&quot; (along with the genre of Breton lai) &quot;may have exerted some influence&quot; in shaping the tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272888">
    <dcterms:title><![CDATA[About Language: Contexts for College Writers]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this is a textbook for college composition, with samples from literature, rhetoric, and theory for discussion; includes Chaucer&#039;s &quot;The Tale of the Wyf of Bathe&quot; in a section on English language history.]]></dcterms:description>
</rdf:Description></rdf:RDF>