<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/272792">
    <dcterms:title><![CDATA[Allegory and Mirror: Tradition and Structure in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Defines the medieval literary modes/genres of personification allegory and mirror, using them to analyze various works of Middle English literature and their models in Latin, French, and Italian. Treats HF as a personification allegory; aspects of BD, TC, and MerT as descendants of the &quot;Roman de la Rose&quot; as love allegory; aspects of TC and Mel as allegories of reason; ParsT as a confessional manual; and CT as a mirror of late-medieval society. Also discusses Middle English works by John Gower, William Langland, and the Pearl-poet.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268423">
    <dcterms:title><![CDATA[Allegory and Realism in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s organic use of allegory in TC and MerT, focusing on personified abstractions.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269223">
    <dcterms:title><![CDATA[Allegory and the Work of Melancholy: The Late Medieval and Shakespeare]]></dcterms:title>
    <dcterms:description><![CDATA[Tambling reads several late medieval and Renaissance texts in relation to Walter Benjamin&#039;s notions of melancholy and Freudian concepts of death, as well as allegory and history. Individual chapters treat &quot;Piers Plowman,&quot; Hoccleve&#039;s &quot;Complaint and Dialogue,&quot; Lydgate&#039;s &quot;Fall of Princes,&quot; Henryson&#039;s &quot;Testament of Cresseid,&quot; and Shakespeare&#039;s &quot;Henry V&quot;I and &quot;Richard III.&quot; A separate chapter - &quot;The Knight Sets Forth: Chaucer, Chrétien and Durer&quot; (pp. 64-93) - discusses &quot;madness, complaint and violence&quot; in KnT, focusing on exploration of the &quot;reasons for destructiveness in people so committed to order.&quot; Tambling compares Arcite&#039;s melancholy to the love-madness in Chrétien&#039;s &quot;Yvain,&quot; reads the &quot;modern instances&quot; of MkT as a critique of KnT, and comments on relations between KnT and Albrecht Durer&#039;s print &quot;The Knight, Death and the Devil.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264837">
    <dcterms:title><![CDATA[Allegory in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The much-disputed allegorical criticism of CT is a fairly recent phenomenon.  Chaucer&#039;s allegories maybe either &quot;formal&quot; (e.g., ClT) or &quot;informal&quot; (e.g., KnT)--both styles deriving from &quot;a reservoir of established menaings shared by the poet and his audience.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted from the first (1968) edition, with updated bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264473">
    <dcterms:title><![CDATA[Allegory, Allegoresis, and the Deallegorization of Language: The &#039;Roman de la Rose,&#039; the &#039;De planctu naturae&#039; and the &#039;Parlement of Foules&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishing the process of allegory from the nature of allegoresis, Chaucer deallegorizes his sources.  He addresses not a reader but an &quot;auditor,&quot; who is not asked to judge his own interpretive procedures.  Jean de Meun defends the use of slang for explaining the truth; Chaucer bases his defense on verisimilitude.  PF is deliberately unallegorical.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269128">
    <dcterms:title><![CDATA[Allegory, Irony, Despair: Chaucer&#039;s Pardoner&#039;s and Franklin&#039;s Tales and Spenser&#039;s Faerie Queene, Books I and III]]></dcterms:title>
    <dcterms:description><![CDATA[Explores intertextual relations between Spenser&#039;s Faerie Queene and Chaucer&#039;s PardPT and FranT. Archimago and Despair from Spenser&#039;s Book 1 gain dimension in light of the Pardoner and the Old Man of PardT; in Book 3, Spenser explores the &quot;emotional plight&quot; of Chaucer&#039;s Dorigen by dividing it into several parts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262929">
    <dcterms:title><![CDATA[Allegory: The Dynamics of an Ancient and Medieval Technique]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the interplay between allegory as a &quot;strategy for interpreting texts&quot; and allegory as a &quot;method for composing&quot; in classical and medieval literature.  Touches on HF, MerT, and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275004">
    <dcterms:title><![CDATA[Allusion and Quotation in Chaucerian Annotation, 1687-1798.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes a kind of annotation used by eighteenth-century editors that links an edited poet to literary tradition by reference to or quotation from other poets. Focuses on the practice in Speght&#039;s 1687 edition of Chaucer; Dryden&#039;s Fables (1700); and the editions of John Urry (1721), Thomas Morrell (1737), and Thomas Tyrwhitt (1775), concluding that through this device Chaucer, who was becoming antiquated, gained status and familiarity through association with the likes of Homer, Shakespeare, Dryden, Pope, Gay, and Gray.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273353">
    <dcterms:title><![CDATA[Allusion in Chaucer&#039;s Merchant&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the &quot;plurality of meaning&quot; in a number of Biblical and classical allusions in MerT, comments on sources, and discusses the setting of the Tale and the names of its characters, arguing that the cultural context of the Tale is a major aspect of its mode of meaning. Includes comparison of Chaucer&#039;s and Dante&#039;s allusive techniques]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276830">
    <dcterms:title><![CDATA[Allusions to Chaucer in Stow&#039;s &quot;Summarye of the Chronicles of England,&quot; 1570. ]]></dcterms:title>
    <dcterms:description><![CDATA[Locates three references to Chaucer in Stow&#039;s 1570 &quot;Summarye,&quot; not found in the 1565 edition and not included in Caroline Spurgeon compendium of Chaucer&#039;s allusions. Points out that death dates given for Chaucer vary in two of the reference (1400 and 1402).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267031">
    <dcterms:title><![CDATA[Alma Redemptoris Mater, Gaude Maria, and the Prioress&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s use of &quot;Alma Redemptoris&quot; rather than &quot;Gaude Maria&quot; in PrT, arguing that the choice may have influenced his characterization of the clergeon. The option was available in Chaucer&#039;s sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261853">
    <dcterms:title><![CDATA[Alpha and Omega: Of Chaucer and Joyce]]></dcterms:title>
    <dcterms:description><![CDATA[Similarities abound in the writings of Chaucer and Joyce, e.g., concern with English as an appropriate language for literature and with authorial presence in fiction.  Most importantly, Chaucer and Joyce, both immersed in the Catholic ethos, share a Catholic comic vision of the universe.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268741">
    <dcterms:title><![CDATA[Alphabets and Rosary Beads in Chaucer&#039;s An ABC]]></dcterms:title>
    <dcterms:description><![CDATA[ABC is intended not for private prayer but as a pedagogical &quot;English-teaching&quot; text. The poem&#039;s manuscript illuminations, visual imagery, and rosary-like structure reinforce the general medieval association of the Virgin with the education of youth (also reflected in PrT).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270273">
    <dcterms:title><![CDATA[Alsop&#039;s &#039;Fair Custance&#039;: Chaucer in Tudor Dress]]></dcterms:title>
    <dcterms:description><![CDATA[An edition of the fragments that survive from Thomas Alsop&#039;s Tudor adaptation of MLT, &quot;The Breuyate and shorte Tragycall hystorie of the fayre Custance, the Emperours daughter of Rome.&quot; About 30 percent of the adaptation survives in British Library fragments from the version printed by Richard Pynson in the 1520s, here edited in Tudor spelling, with an introduction that comments on what the fragments reveal about &quot;Tudor reaction to Chaucer&#039;s archaic language, the state of versification just before Wyatt and Surrey, and the continued vogue into the sixteenth century of the Man of Law&#039;s Custance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262175">
    <dcterms:title><![CDATA[Alys as Allegory: The Ambivalent Heretic]]></dcterms:title>
    <dcterms:description><![CDATA[Treats WBP, hermeneutics, and Chaucer and Wycliffism.  Investigating whether and why Chaucer might have given Wycliffite traits to the Wife of Bath, Martin argues that he did in order to explore both faults and virtues of literal-minded interpretation of vernacular texts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271602">
    <dcterms:title><![CDATA[Alys&#039;s Formulation of Intent--or Her Killing Us Softly with Her Siren Song]]></dcterms:title>
    <dcterms:description><![CDATA[Considers theories that Alison conspired with Jankyn to murder her fourth husband, assessing matters of criminal intent and liability, and exploring ways that WBP situates the reader as a victim of the Wife&#039;s special pleading.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272210">
    <dcterms:title><![CDATA[Amatory Psychology and Amatory Frustration in the Interpretation of the &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the occasion, structure, and humor of BD, its possible reflections of Chaucer&#039;s marriage to Philippa, and the legacy of its heart imagery that derives from Platonic and Arabic thought (Averroes and Ibn Hazm) and the courtly love tradition.  The Dreamer, who is separate from but connected to the Narrator as the central figure of the poem, commits four &quot;blunders&quot; in his dialogue with the Black Knight, a dialogue that is infused with serio-comic treatment of the psychology and physiology of love.  It may reflect Chaucer&#039;s own suffering love when Philippa turned to John of Gaunt.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275104">
    <dcterms:title><![CDATA[Amazing Writers.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that the volume is intended for a juvenile audience and includes narrative accounts of the lives and works of Chaucer, Shakespeare, Charles Dickens, Victor Hugo, Leo Tolstoy, and Rudyard Kipling. The Chaucer section (pp. 7–19) is entitled &quot;Geoffrey Chaucer, Writer of the First Great Works in English.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275876">
    <dcterms:title><![CDATA[Ambages and Double Visages: Betrayal in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;conditions that allow for [Criseyde&#039;s] betrayal&quot; in TC, including the &quot;structure of courtship&quot; which establishes the duplicity of the relationship between the lovers, the deceptions upon which it is based, and the fundamental ambiguities of human discourse, rife with lies, delusions, performances, and misplaced faith.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277159">
    <dcterms:title><![CDATA[Ambient Media and Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that, rooted in &quot;medieval theory of mediated perception&quot; and concerned with perceptual distortion, HF shows how a &quot;sensing body&quot; participates in an &quot;ambient mediascape&quot;--one that includes environmental media (air, water, architecture) as well as aesthetic media (painting, engraving, writing).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272518">
    <dcterms:title><![CDATA[Ambiguity and Disruption in Chaucer&#039;s Troilus and Criseyde: The Effects of Hermeneutic Mimetics]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses how origins of the meaning of TC are &quot;decentred&quot; on different levels. Argues that complicated use of external sources obfuscates the meaning of the text and that the subject-positions of Pandarus and the narrator create a &quot;disruption&quot; in the text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263062">
    <dcterms:title><![CDATA[Ambiguity and Interpretation: A Fifteenth-Century Reading of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Literary meaning is not an &quot;atemporal constant but a historical variable.&quot;  The appropriate challenge to exegetical criticism comes through a history of reading.  Examines TC in light of the medieval understandings of love articulated as the &quot;seven tokens of carnal love&quot; in &quot;Disce mori,&quot; a fifteenth-century treatise for religious women that explicitly refers to TC.  Thus, Patterson locates TC within the context of &quot;amor&quot; and &quot;amicitia,&quot; as understood by the fifteenth-century reader.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261521">
    <dcterms:title><![CDATA[Ambiguity in Chaucer&#039;s Language: An Aspect of His Questioning of Meaning]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s ambiguities in light of rhetorical tradition, the state of the language, Chaucer&#039;s poetic self-consciousness, and the textual history of his works. (In Japanese)]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268426">
    <dcterms:title><![CDATA[Ambiguity in the Language of Chaucer&#039;s Romances, with Special Regard to Troilus and Criseyde and The Merchant&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s suggestive use of courtly language, with illustrations from TC and MerT.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266897">
    <dcterms:title><![CDATA[Ambiguous Brotherhood in the Friar&#039;s Tale and Summoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the fraternal and potentially sexual attraction between the Friar and the Summoner by focusing on Chaucer&#039;s conception of brotherhood and the male relationships in FrPT and SumPT.]]></dcterms:description>
</rdf:Description></rdf:RDF>