<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/270934">
    <dcterms:title><![CDATA[&#039;Demolire&#039; e &#039;Ricostruire&#039; Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the process and challenge of translating Chaucer into Italian. The volume also includes a round table discussion of translation, including comments about Chaucer, London standard, and Chaucer&#039;s stylistic and linguistic variety (pp. 91-103).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262414">
    <dcterms:title><![CDATA[&#039;Des contes a rire&#039;: Chaucer&#039;s and Boccaccio&#039;s Adaptations of Certain Old French &#039;Fabliaux&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer and Boccaccio, as the first sophisticated authors to write in the genre, adapted certain fabliaux to their purposes.]]></dcterms:description>
    <dcterms:description><![CDATA[Gunnell discusses sources of Chaucer&#039;s RvT, MerT, and ShT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262736">
    <dcterms:title><![CDATA[&#039;Disfigured is thy face&#039;: Chaucer&#039;s Pardoner and the Protean Shape-Shifter Fals-Semblant (A Response to Britton Harwood)]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s Pardoner owes a debt to Jean de Meun&#039;s Fals-Semblant (&quot;Roman de la Rose&quot;), whose false-seeming depends on clothing.  In PardT, clothing metaphors become symbols for the relationship between body and soul.  The Pardoner&#039;s reliance on the outer body belies his apparent spirituality.]]></dcterms:description>
    <dcterms:description><![CDATA[Responds to the essay by Britton J. Harwood entitled &quot;Chaucer&#039;s Pardoner: The Dialectics of Inside and Outside.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270676">
    <dcterms:title><![CDATA[&#039;Disgraces the name and patronage of his master Chaucer&#039;: Echoes and Reflections in Lydgate&#039;s Courtly Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[In his courtly verse, Lydgate elevates Chaucer&#039;s established topoi and discourse to bolster his own unique reformations and enhancements of Chaucerian style.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266147">
    <dcterms:title><![CDATA[&#039;Diverse Folk Diversely They Seyde&#039;: Teaching Chaucer in the Nineties]]></dcterms:title>
    <dcterms:description><![CDATA[Despite the increasing difficulty of retaining the Chaucer &quot;canon&quot; in university curricula of the 1990s, Chaucer-teaching is alive and flourishing, as evidenced in the colloquium on teaching at the 1994 New Chaucer Society meeting and the papers printed in the Exemplaria 8:2 (1996) special issue on teaching.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271920">
    <dcterms:title><![CDATA[&#039;Diversitee bitwene hir bothe lawes&#039;: Chaucer&#039;s Unlikely Alliance of a Lawyer and a Merchant]]></dcterms:title>
    <dcterms:description><![CDATA[Considers how the &quot;professional identity&quot; of the teller informs concerns with justice in MLT. Engagement with mercantile law, common law, natural law, divine intervention, and the &quot;limitations of human justice&quot; pervade MLPT and indicate an uncertain sense of their relations and hierarchy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262467">
    <dcterms:title><![CDATA[&#039;Do Nu Ase Pu Sedes&#039;: Word and Deed in &#039;King Horn,&#039; &#039;Havelock the Dane,&#039; and the &#039;Franklin&#039;s Tale&#039;,]]></dcterms:title>
    <dcterms:description><![CDATA[Unlike Horn and Havelock, who mature into heroism in fulfilling their vows, Chaucer&#039;s characters in FranT make promises that govern personal relationships; their &quot;gentilesse&quot; transcends class and gender.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267166">
    <dcterms:title><![CDATA[&#039;Downs and Ups&#039; of Short [e] before Nonprevocalic [r], or Late Middle English e-Lowering]]></dcterms:title>
    <dcterms:description><![CDATA[Studies late Middle English lowering of short a to e in syllables that end in -r (e.g., fer &gt; far). Several examples from Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270048">
    <dcterms:title><![CDATA[&#039;Dr Furnivall and Mother like the same old books&#039;: Mary Haweis and the Experience of Reading Chaucer in the Nineteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Describes how Mary Haweis&#039;s 1877 publication of &quot;Chaucer for Children: A Golden Key&quot; brought Chaucer&#039;s stories to the domestic realm of women and children as a tool for organization and education. Connolly suggests that Haweis authored later books such as &quot;Chaucer for Schools&quot; (1881) and &quot;Tales of Chaucer&quot; (1887) with the aim of commoditizing Chaucer and her texts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267463">
    <dcterms:title><![CDATA[&#039;Dreme He Barefot, Dreme He Shod : Chaucer as Performer of Dream Visions]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer was well aware that he was writing for an audience that read his poems aloud. In his four dream poems, he familiarizes his audience with the subject matter through communication strategies, including conversational interjections such as &quot;that is to seyn.&quot; The poems are thus highly suited for oral performance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262145">
    <dcterms:title><![CDATA[&#039;Dronkenesse Is Ful of Stryvyng&#039; : Alcoholism and Ritual Violence in Chaucer&#039;s &#039;Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Medical and psychological insights confirm alcoholism as the Pardoner&#039;s root problem.  Heavy long-term indulgence has left him unable to function without drink; he is alienated, impotent, resentful, and eloquent in preaching yet mute under attack.  The Host seeks to make him an unholy scapegoat.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266365">
    <dcterms:title><![CDATA[&#039;Dysemol Daies and Fatal Houres&#039; : Lydgate&#039;s &#039;Destruction of Thebes&#039; and Chaucer&#039;s &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Lydgate&#039;s &quot;Destruction&quot; as a Canterbury tale and a &quot;pre-text&quot; to KnT.  Set historically before KnT, Lydgate&#039;s poem expands the boundaries of Chaucer&#039;s poem but &quot;forecloses&quot; its &quot;limited possibilities for constructive human activity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266763">
    <dcterms:title><![CDATA[&#039;Đin&#039; in Late Middle English and Its Contemporary Reflex in Instructional Settings]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that certain English pronominal forms are &quot;durable over time&quot; when used in instructions.  Assesses cookbooks and Astr as Middle English samples and compares their usage with modern American cookbooks.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266118">
    <dcterms:title><![CDATA[&#039;Effigies Amicitiae...Veritas Inimicitae&#039;: Antifeminism in the Iconography of the Women-Headed Serpent in Medieval and Renaissance Art and Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Oblique mention of Chaucer&#039;s comparison of Fortune to the &quot;Fradulent serpent&quot; in MerT and of his reference to the &quot;smiler with the knife&quot; in KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266583">
    <dcterms:title><![CDATA[&#039;Els Castells Humans&#039;: An Architectural Element in &#039;The House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer visited Catalonia sometime between 1365 and 1366.  Exposure to the country&#039;s folklore results in Chaucer&#039;s description of folk &quot;alle on an hepe&quot; in HF (2149).  Serrano Reyes provided contemporary pictures of this type of &quot;human tower&quot; to support his hypothesis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267142">
    <dcterms:title><![CDATA[&#039;Endityinges of Worldly Vanitees&#039; : Truth and Poetry in Chaucer as Compared with Dante]]></dcterms:title>
    <dcterms:description><![CDATA[Although only seventy years separated Dante&#039;s and Chaucer&#039;s creative peaks, different philosophies affected their attempts to communicate divine truth through poetry. Reflecting Augustinian philosophy, Dante believed that all things divine could be reflected and revealed through language. That more skeptical philosophies influenced Chaucer may explain why his poetry strives to unmask human folly rather than to affirm virtue.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266042">
    <dcterms:title><![CDATA[&#039;England&#039;s Olde Ennius&#039;: Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the process by which Chaucer&#039;s biography developed through Bale, Leland, Spenser, Speght, Thynne, Dryden, Urry,and Johnson.  Topics include laureation, Chaucer in print, nationalistic and humanistic impulses, and Chaucer as a symbol of cultural exchange.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269717">
    <dcterms:title><![CDATA[&#039;English&#039; Black-letter Type and Spenser&#039;s Shepheardes Calender]]></dcterms:title>
    <dcterms:description><![CDATA[Printing in black-letter type rather than italic was a form of nationalism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270219">
    <dcterms:title><![CDATA[&#039;Englyssh Gaufride&#039; and British Chaucer? Chaucerian Allusions to the Condition of Wales in the House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s sensitivity to the &quot;cultural survival&quot; of Wales is suggested in three moments in HF: the insinuation that Wales is near the river of forgetfulness through a visual pun on &quot;Cymerie&quot; (73); the citation of an unknown and hence implicitly forgotten Welsh bard, &quot;Bret Glascurion&quot; (1208); and the reference to the Welsh Geoffrey of Monmouth as &quot;Englyssh&quot; (1470).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266388">
    <dcterms:title><![CDATA[&#039;Enough&#039; and &#039;Enow&#039; in Middle English]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the distribution of the two forms &quot;enough&quot; and      &quot;enow,&quot; using Chaucer&#039;s works in the database.  In Chaucer, &quot;enow&quot; is generally a &quot;poetic non-plural variant&quot; useful for rhyme, while &quot;inowe&quot;/&quot;ynowe&quot; is the plural (with exceptions).  Explores the historical conflation of the forms.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263582">
    <dcterms:title><![CDATA[&#039;Envoi de fleurs&#039;: A propos des echanges litteraires entre la France et l&#039;Angleterre sous la Guerre de Cent Ans]]></dcterms:title>
    <dcterms:description><![CDATA[A literary exchange between Eustache Deschamps and Chaucer probably took place between 1377 and 1380.  In ballad 285, Deschamps speaks of the &quot;grant translateur&quot; of &quot;Roman de la Rose.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[In French.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270172">
    <dcterms:title><![CDATA[&#039;Epreuves d&#039;amour&#039; and Chaucer&#039;s&#039; Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[A study of works featuring the test-of-love motif argues for including FranT among them rather than among narratives employing the motif of the &quot;maiden&#039;s rash promise.&quot; However, by devising a &quot;test&quot; for Dorigen&#039;s suitor that expresses her concern for her husband&#039;s safety, Chaucer twists this staple of the courtly love genre, thereby pointing out &quot;that the reconciliation of romantic love and Christian marriage is a fragile fantasy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264044">
    <dcterms:title><![CDATA[&#039;Equivocations of Kynde&#039;: The Medieval Tradition of Nature and Its Use in Chaucer&#039;s &#039;Troilus and Criseyde&#039; and Gower&#039;s &#039;Confessio Amantis&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The medieval--especially the Augustinian--concepts of human nature comprises both the prelapsarian and the fallen state. TC and &quot;Confessio Amantis&quot; use this concept as a structuring device.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270220">
    <dcterms:title><![CDATA[&#039;Et pour la joie que j&#039;avoie ce rondelet fis&#039;: The Emotional Use of Song in Chaucer&#039;s Book of the Duchess]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the influence of &quot;Roman de la Rose&quot; and Machaut&#039;s &quot;Remede de Fortune&quot; and &quot;Jugement du Roy de Behaigne&quot; on BD, suggesting that Chaucer reinvents the &quot;French fashion for lyric interpolation&quot; to &quot;suit the needs of the grieving Black Knight.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263102">
    <dcterms:title><![CDATA[&#039;Ethopoeia&#039; or Impersonation: A Neglected Species of Medieval Characterization]]></dcterms:title>
    <dcterms:description><![CDATA[Ethopoeia, Latinized as &quot;adlocutio&quot; and treated by most rhetoricians, classical and medieval, is a subspecies of dramatic character portrayal, as distinct from the formal portrait.  TC 5.1054-85 employs it in Criseyde&#039;s interior monologue.  Other examples may be found in HF 300-60, TC 3.802-40, FranT 1354-1456, and LGW.]]></dcterms:description>
</rdf:Description></rdf:RDF>