<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/273007">
    <dcterms:title><![CDATA[Afterlives: The Fabulous History of Venus]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the history and iconography of Venus and focuses on the theme of Venus in KnT, PF, and TC. Also maintains that &quot;medieval  Venus&quot; stories greatly impacted  Derek Brewer&#039;s  writing and scholarly interests.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275370">
    <dcterms:title><![CDATA[Afterthoughts on the Merchant&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that MerT &quot;was composed before and independent of&quot; MerP, initially addressed orally by Chaucer to a &quot;courtly audience.&quot; Such listeners were familiar with the &quot;humorous antifeministic tradition&quot; into which the &quot;senex amans&quot; convention, January&#039;s sardonic &quot;panegyric on marriage,&quot; the extravagant rhetoric of the wedding feast, and the Proserpina/Pluto debate fit without recourse to a narrating personality. WBP also fits into this tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269806">
    <dcterms:title><![CDATA[Afterword : On Allegory, Allegoresis, and the Erotics of Reading]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys distinctions between the restrictive &quot;allegory of theologians&quot; and the expansive &quot;allegory of the poets,&quot; arguing that Chaucer&#039;s poetry is a radical form of the latter. Chaucer&#039;s works decenter the author and thereby pose &quot;new kinds of imaginative syllogism&quot; that prompt readers to various &quot;wrong&quot; readings and evoke parallels between political and readerly rebelliousness. Gillespie comments on HF, Mel, and the Host&#039;s response to ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275495">
    <dcterms:title><![CDATA[Afterword [to &quot;Chaucer&#039;s Langland&quot;].]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the studies included in a cluster of essays entitled &quot;Chaucer&#039;s Langland&quot; (YLS 32 (2018) and, acknowledging the difficulties of establishing direct influence between Langland and Chaucer, describes a variety of dissimilarities between their works, explaining how differences in style, genre, attitude, and emphasis reflect and illuminate the poets&#039; ethical, intellectual, social, and political worlds.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276960">
    <dcterms:title><![CDATA[Afterword [to Special Issue}]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how resonance with CT in &#039;1 Henry IV, 1.2, &quot;communicates the pre-Reformation otherness of the world&quot; and raises questions about &quot;cultural distance and appropriation&quot; that circulate among the essays collected in this special issue of &quot;Comparative Drama.&quot; Also comments on allusions to Chaucer in John Dryden&#039;s preface to his &quot;Troilus and Cressida&quot; and his &quot;The Grounds of Criticism in Tragedy,&quot; as well as in Ben Jonson&#039;s &quot;Entertainment at Bolsover.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265654">
    <dcterms:title><![CDATA[Afterword to &quot;The Wife of Bath and the Painting of Lions&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the rhetorical ontology of the Wife of Bath.  The character is a figure of power who &quot;continues to bother&quot; because she is not silenced in the text, compelling readers to wish to respond.]]></dcterms:description>
    <dcterms:description><![CDATA[The original essay (without afterword) originally published in PMLA 094 (1979): 209-22.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274860">
    <dcterms:title><![CDATA[Afterword: Re-Reading; or, When You Were Mine.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides an afterword to the special issue on LGW, focusing on the theme of love&#039;s loss, and presents an argument that Prince&#039;s song &quot;When You Were Mine&quot; provides a foil for the women of LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275012">
    <dcterms:title><![CDATA[Against Order: Medieval, Modern, and Contemporary Critiques of Causality.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that HF, like Virginia Woolf&#039;s &quot;To the Lighthouse&quot; and Lyn Hejinian&#039;s &quot;My Life,&quot; rejects a &quot;hermeneutic of linear causality.&quot; Both Chaucer and the postmedieval authors develop the potential of the dream-vision form to advance a &quot;literary philosophy&quot; that features &quot;a resistant politics of accident and rupture&quot; rather than an &quot;organized andcausal providential universe.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275116">
    <dcterms:title><![CDATA[Against the Friars: Antifraternalism in Medieval France and England.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the history and reception of friars in France and England from their inception to c. 1400, with a chapter on late fourteenth-century English literary responses: &quot;England: The Turbulent 14th Century, and the Writings of Chaucer, Langland and Gower&quot; (pp. 117-33). Includes discussion of the GP description of the Friar (&quot;stops short of outright condemnation&quot;) and a summary paraphrase of SumT that emphasizes its satiric elements, wheel imagery, and concern with glossing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264300">
    <dcterms:title><![CDATA[Against Women Unconstant: The Case for Chaucer&#039;s Authorship]]></dcterms:title>
    <dcterms:description><![CDATA[A heretofore overlooked list of internal evidence for Chaucer&#039;s authorship of Wom Unc concerns the source of the mirror image--the latter used by Chaucer in his Bo.  Since Chaucer&#039;s lady is described in terms that smack of Boethius&#039;s Fortune, the author&#039;s dependence upon Boethius brings Wom Unc very close to his own translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274630">
    <dcterms:title><![CDATA[Aggressive Chaucer: Of Dolls, Drink and Dante.]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that, despite the critical tradition of Chaucer&#039;s self-effacing persona, there are significant assertions of his own poetic authority in ThP and HF, and perhaps even challenges to Dante. Explores details of diction and imagery (&quot;popet,&quot; &quot;elvyssh,&quot; drinking one&#039;s own drink, etc.) to argue that, at times, &quot;Chaucer&#039;s claims to poetic authority are aggressive&quot; or &quot;passive-aggressive.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276523">
    <dcterms:title><![CDATA[Agronomy and Affect in Duke Humfrey&#039;s &quot;On Husbondrie.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the fifteenth-century manuscript known as &quot;On Husbondrie,&quot; compiled by Duke Humfrey of Gloucester, which contains information on farming, agriculture, and animal husbandry. Argues that the manuscript is not simply a practical guide for agricultural techniques, but a complex and affective text that reflects the emotional and spiritual aspects of medieval farming practices. Multiple references to Chaucer&#039;s works, including BD, RvT, Th, MilT, SqT, and MerT. Footnote 77 discusses the connection between &quot;the physicality of meter&quot; in Boethius&#039;s &quot;Consolation of Philosophy&quot; and the &quot;sense-perceptible&quot; effect of alliteration in Bo.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271530">
    <dcterms:title><![CDATA[Ahoy! and Jury-Rigging: Etymologies]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s use of the interjection &quot;Oo&quot; in KnT (2533) is adduced as a stage in the history of &quot;Ahoy&quot; going back to the Anglo-French verb &quot;oir&quot; (to hear, listen).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277156">
    <dcterms:title><![CDATA[Airy Bodies and Knowledge in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;embodiment of language&quot; in HF and argues that it displays epistemological &quot;confidence in the ability of the textual word/body to communicate accurately to the reader&#039;s imagination in a synesthetic experience.&quot; Focuses on how Chaucer (following Dante&#039;s Thomistic hylomorphism) &quot;portrays audible speech as visible shades of the speakers&quot; and &quot;calls attention to the spoken word embodied in writing.&quot; Also comments on the textual history of HF in manuscripts and early print.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261443">
    <dcterms:title><![CDATA[Al of Another Tonne]]></dcterms:title>
    <dcterms:description><![CDATA[Contrary to critical tradition, Chaucer did not necessarily abandon LGW in boredom.  A reading with attention to the discrepancies between LGWP and the legends, and to their ordering and their figurative language, reveals a careful and purposeful structure as well as structural, thematic, and aesthetic completeness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263053">
    <dcterms:title><![CDATA[Al This Mene I Be Love]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the pervasiveness of love iconography and tradition in PF.  Reviews various interpretations, political and social, and sees the &quot;center&quot; of the poem in the central line on the treacherous lapwing, a model for Chaucer&#039;s method with its many contradictions.  PF is a structure without a center.  Chaucer delights in the &quot;irresolvable diversity of the birds&#039; ideas about love.&quot;  Love in PF consists in &quot;yearning for a center and a meaning that are absent.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266293">
    <dcterms:title><![CDATA[Alain de Lille, Jean de Meun, and Chaucer: Ecofeminism and Some Medieval Lady Natures]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the depiction of female-gendered Nature in Brunetto Latini&#039;s &quot;Il Tesoretto,&quot; Alain de Lille&#039;s &quot;De planctu naturae,&quot; Jean de Meun&#039;s &quot;Roman de la Rose,&quot; and Chaucer&#039;s PF.  A modern ecofeminst approach to these depictions helps disclose the binary thinking that underlies them and reveals a surprising variety in the way they reflect power relations between classes and genders.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270884">
    <dcterms:title><![CDATA[Alan of Lille&#039;s &#039;Anticlaudianus&#039; as Intertext in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In playing on Alan&#039;s &quot;theological epic&quot; in HF, Chaucer projects a view of readerly interpretation as a key component of literary production, thus challenging the notions that poetry springs solely from inspiration and &quot;that textual meaning could be securely sealed by an author.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265874">
    <dcterms:title><![CDATA[Alas! Alas! Unhappy Wife of Bath: A Close Reading of the Wife of Bath&#039;s Prologue.:]]></dcterms:title>
    <dcterms:description><![CDATA[A deconstructive-psychoanalytical reading of WBP that examines the gaps left in the Wife&#039;s discourse, exploring implications of rape, sexual economics, and prostitution.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266386">
    <dcterms:title><![CDATA[Albeit a Conjunction, Yet It Is a Clause: A Counterexample to the Unidirectionality Hypothesis?]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the history of the phrase &quot;al be it&quot; from its late-medieval &quot;heyday&quot; through its reduction to a single-word conjunction to its current status as a marker of &quot;concessivity&quot; or contradiction.  Most medieval instances are cited from Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264866">
    <dcterms:title><![CDATA[Albertus Magnus and the Problem of Sound and Odor in the Summoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Jankyn&#039;s theories of the dissemination of sound and odor coincide precisely with those of medieval science as presented by Albertus Magnus in his &quot;Liber de sensu et sensato.&quot;  Chaucer draws upon these widely disseminated medieval views rather than upon the opinions of classical writers such as Euclid, Ptolemy, Vitruvius, or Boethius.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268245">
    <dcterms:title><![CDATA[Albion: The Origins of the English Imagination]]></dcterms:title>
    <dcterms:description><![CDATA[Ackroyd discusses Chaucer within the larger context of describing and defining the distinctive qualities of English imagination, focusing on Chaucer&#039;s themes of remembrance, science, and truth as part of the process of becoming English. Considers HF, LGW, PF, TC, BD, CT, and RvT. Includes a bibliography and index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262518">
    <dcterms:title><![CDATA[Alceste and Chaucer&#039;s View of Poetry in the &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In LGWP, Alceste is a more complicated character than is suggested by references to her in TC:  &quot;Alceste&#039;s truth, goodness, and faithfulness are offset in the Prologue by her obstinance, petulance, and fickleness.&quot;  Critical readings ignore the &quot;multiplicity of her roles&quot; in LGWP as &quot;protector and patron of the poet and as audience and literary critic of his work.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265884">
    <dcterms:title><![CDATA[Alceste the Washerwoman]]></dcterms:title>
    <dcterms:description><![CDATA[One key to recognizing the parody of hagiography in LGW is the identification of Alceste as Alice de Cestre in LGWP.]]></dcterms:description>
    <dcterms:description><![CDATA[  Alice was a washerwoman of the royal household--perhaps a prostitute--and the double identity of Alceste-Alice establishes a &quot;flexible morality&quot; for the poem, &quot;a model of moral relativism and tolerance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262497">
    <dcterms:title><![CDATA[Alchemical Discourse in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Most scholarly treatments of Chaucer and alchemy deal with whether Chaucer believed in alchemy or whether he condemned it, but Chaucer&#039;s primary concern with alchemy was to use it as &quot;symbolic language,&quot; especially in SNT and CYT.  This salvific language links the spiritual and the physical, God and humanity.]]></dcterms:description>
</rdf:Description></rdf:RDF>