<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/270499">
    <dcterms:title><![CDATA[Ambiguous Icons: Chaucer&#039;s Knight, Parson and Plowman]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on several stylistic device of characterization in GP and the effects they produce: the Knight is earnest by obsolete, and spiritually ambiguous; the Parson, an exaggerated stereotype, cut off from people by lack of realistic details; the Plowman, hard to visualize because of abstraction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273516">
    <dcterms:title><![CDATA[Ambiguous Locks: An Iconology of Hair in Medieval Art and Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys depictions of &quot;good&quot; and &quot;bad&quot; women in medieval art and literature, concentrating on how their hair characterizes them and directs viewers&#039; attention. Includes a brief discussion of the implications of Emelye&#039;s yellow/golden hair in KnT (1049–50) for the ways that it confirms her beauty.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275903">
    <dcterms:title><![CDATA[Ambiguous Negations in Chaucer and Queen Elizabeth.]]></dcterms:title>
    <dcterms:description><![CDATA[Draws examples from Bo and Elizabeth I&#039;s translation of Boethius (&quot;noght,&quot; &quot;nowt,&quot; &quot;nothing,&quot; etc.) to show that the ambiguity of morphological negation disappears between Middle and Early Modern English while that of syntactical negation survives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262908">
    <dcterms:title><![CDATA[Ambiguous Realities: Women in the Middle Ages and Renaissance]]></dcterms:title>
    <dcterms:description><![CDATA[Thirteen essays by various hands.  For two essays that pertain to Chaucer, search for Ambiguous Realities under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262393">
    <dcterms:title><![CDATA[Ambiguous Signs an Authorial Deception in Fourteenth-Century Fictions]]></dcterms:title>
    <dcterms:description><![CDATA[Dante, Boccaccio, Gower, Chaucer, and the Archpriest of Hita are aware that language is deceptive:  signs are ambiguous and may be misunderstood, or they are deliberately deceptive.  The author may serve as trickster and may demand reader &quot;response and responsibility.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268963">
    <dcterms:title><![CDATA[Ambition and Anxiety in The House of Fame and The Garlande of Laurell]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the attitudes toward fame and poetic fame in HF and in Skelton&#039;s The Garlande of Laurell, arguing that Chaucer&#039;s willingness to accept the Boethian transience of fame contrasts a greater desire for certainty in Skelton.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269426">
    <dcterms:title><![CDATA[American Chaucers]]></dcterms:title>
    <dcterms:description><![CDATA[Barrington studies examples of &quot;Chaucer&#039;s appearances in American popular culture over the past two hundred years&quot;: Percy MacKaye&#039;s play, pageant, and opera; James Norman Hall&#039;s WWI memoir &quot;Flying with Chaucer&quot; (1930), Anne Maurey&#039;s pageant &quot;May Day in Canterbury&quot; (1926); Katherine Gordon Brinley&#039;s performance piece &quot;Chaucer Lives&quot; (1921); and Brian Helgeland&#039;s movie &quot;A Knight&#039;s Tale&quot; (2000). She comments briefly on a wide variety of related texts that reflect reception of Chaucer in the United States.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266086">
    <dcterms:title><![CDATA[American Dream Visions: Chaucer&#039;s Surprising Influence on F. Scott Fitzgerald]]></dcterms:title>
    <dcterms:description><![CDATA[Argues from internal and external evidence that Fitzgerald&#039;s works were strongly influenced by Chaucer&#039;s dream poems.  In particular, Chaucerian themes, characterizations of females, and dream structures occur in Fitzgerald&#039;s early works, especially &quot;The Great Gatsby,&quot; as do parallel concerns with creativity and the role of the artist.  The influence is less pervasive in later works by Fitzgerald, but his concern with the artist-protagonist continues.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270966">
    <dcterms:title><![CDATA[Americans&#039; Favorite Poems: The Favorite Poem Project Anthology]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes a large number of selections from responses to Robert Pinsky&#039;s request that Americans submit an example of their favorite poetry and &quot;comment on the poem&#039;s personal significance.&quot; The volume includes GP, lines 1-18, and brief comments by two people--Fan Staunton Ogilvie, a writer,  and Sandy Stewart, a handyman.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271894">
    <dcterms:title><![CDATA[Among All Beasts: Affective Naturalism in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[In some modern views, and in John of Trevisa&#039;s &quot;On the Properties of Things,&quot; animals have feelings and communicate. Similarly, CT and PF demonstrate &quot;the value and pleasure of minds speaking to other minds,&quot; whether human or avian. Late medieval interest in encyclopedic listings of things, including animals, may be a cultural result of the plague.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272470">
    <dcterms:title><![CDATA[Among Other Possible Things: The Cosmopolitanisms of Chaucer&#039;s &#039;Man of Law&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares cosmopolitanism in Trevet, Gower, and Chaucer&#039;s Constance legends.  Establishes that Chaucer&#039;s sultan in MLT represents more of an aesthetic cosmopolitan than do his analogues in Trevet and Gower, who portray cosmopolitanism as a means of &quot;advanc[ing] the universal expansion of orthodox Christian belief.&quot; Suggests that Chaucer questioned the success of a cosmopolitan world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276628">
    <dcterms:title><![CDATA[Amor Vincit Omnia (How the Tales came to be told).]]></dcterms:title>
    <dcterms:description><![CDATA[Verse dialogue in iambic pentameter couplets in which the Wife of Bath recommends to a convalescent Chaucer the idea of writing CT and offers to tend him while he writes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268451">
    <dcterms:title><![CDATA[Amoral Gower: Language, Sex, and Politics]]></dcterms:title>
    <dcterms:description><![CDATA[Reads John Gower&#039;s Confessio Amantis as a work that &quot;encourages its audience to take risks in interpretation, to experiment with meaning, and to offer individualistic readings.&quot; The work pursues a &quot;negative critique of ethical poetry&quot; and enables important engagements with complexities of language, sex, and politics. Recurrent references to Chaucer indicate that the two poets shared a common audience, competed with each other, and explored &quot;ethical ambiguities&quot; in different ways.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269517">
    <dcterms:title><![CDATA[Amorous Behavior: Sexism, Sin, and the Donaldson Persona]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplified by those of Carolyn Dinshaw and Elaine Tuttle Hansen, feminist critiques of E. Talbot Donaldson&#039;s scholarship are curiously similar to D. W. Robertson&#039;s critiques of that scholarship. These critiques find fault in its subjectivity and thus overlook Donaldson&#039;s authorial persona: a &quot;fictional first person&quot; who &quot;models a way into the text for readers, who are, like him&quot; --and like Chaucer-- &quot;both gendered roles and personal facts.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270049">
    <dcterms:title><![CDATA[Amorous Dispossessions : Knowledge, Desire, and the Poet&#039;s Dead Body]]></dcterms:title>
    <dcterms:description><![CDATA[Ingham considers evidence from the exhumation of Petrarch&#039;s skull and from Chaucer studies to demonstrate the role of &quot;amorous dispossessions&quot; in historicist pursuits. Lacan&#039;s comments on courtly love theorize such dispossessions and complicate notions of truth and knowledge. The author discusses the &quot;problem&quot; that Chaucer&#039;s knowledge of Petrarch causes for claims about historical periods and explores aspects of global study of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267994">
    <dcterms:title><![CDATA[Amoryus and Cleopes: John Metham&#039;s Metamorphosis of Chaucer and Ovid]]></dcterms:title>
    <dcterms:description><![CDATA[Although based on Ovid&#039;s tale of Pyramus and Thisbe, &quot;Amoryus and Cleopes&quot; (1449) was clearly influenced by TC in diction and style. Metham&#039;s amelioration of tragedy simplifies Chaucer&#039;s complex and ambiguous combination of de casibus tragedy and Ovidian unfortunate love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262541">
    <dcterms:title><![CDATA[Amphibologies and Heresy: &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[TC reflects heterodox or heretical outlooks and religious division in its depiction of love as religion, its prescribing a morality based on love, its metaphors of preaching, its celebration of love&#039;s power, and its notion of false felicity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275563">
    <dcterms:title><![CDATA[Ampullae and Badges: Pilgrim Paraphernalia in Late Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes (with illustrations) the &quot;material remainders of late medieval English practices of pilgrimage,&quot; discussing them &quot;in the context of Chaucer&#039;s and Langland&#039;s portraits of pilgrim attire,&quot; and commenting on relations between extant badges and flasks and the literary descriptions in CT and &quot;Piers Plowman,&quot; satirical and otherwise.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266111">
    <dcterms:title><![CDATA[An &#039;Ethnography of Reading&#039; in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Internal evidence in Chaucer&#039;s works indicates that he expected his works to be read aloud--both by himself and to an immediate, first audience and by prelectors to later audiences.  Chaucer&#039;s references to the reception of his work, his references to the reception of others&#039; works, and his depictions of receptions indicate the community of hearers assumed in his literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264299">
    <dcterms:title><![CDATA[An ABC to the Style of the Prioress]]></dcterms:title>
    <dcterms:description><![CDATA[Although the format (alphabetical) of ABC limits it somewhat, it follows the style of fourteenth-century religious courtly lyrics with a heightened sense of emotionalism.  The struggle of the Virgin with the devil in ABC can be equated with the struggle between the child and the Jews in PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272552">
    <dcterms:title><![CDATA[An Aesopic Allusion in the &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the allusion to a &quot;panyer ful of herbes&quot; in MerT (4.1568) to an oral version of the apocryphal &quot;Life of Aesop,&quot; commenting on the implications of this source for the tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268914">
    <dcterms:title><![CDATA[An Aesthetic of Permeability : Three Transcapes of the Book of the Duchess]]></dcterms:title>
    <dcterms:description><![CDATA[Horowitz assesses the aesthetic value of BD by focusing on three &quot;transcapes&quot; (through visions): that of the narrator as a literary medium; that of the work&#039;s interwoven sources and time spans; and that of the gendered landscape, which is both unstable and constant. The transcapes constitute a closely woven (but simultaneously open) work that is always open to interpretation and in a constant state of flux.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274913">
    <dcterms:title><![CDATA[An Afterword on the Prologue.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the functions of prologues in Middle English literature, commenting on nuances of &quot;prohemye,&quot; &quot;prefacyon,&quot; &quot;preamble,&quot; etc., and exploring how prefatory works &quot;disorganiz[e] the categories of center and periphery, &#039;theoria&#039; and &#039;praxis&#039;.&quot; Includes recurrent comments on GP, WBP, and ClP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276588">
    <dcterms:title><![CDATA[An Alchemical Analogue to the Virgin&#039;s &#039;Greyn&#039;: &quot;The Prioress&#039;s Tale,&quot; ll. 662-72.]]></dcterms:title>
    <dcterms:description><![CDATA[Claims that Chaucer may have been aware of a fourteenth-century alchemical work prescribing an &quot;elixir&quot; of &quot;a grain of wheat soaked in wine&quot; that prolongs life long enough for someone whose death is imminent to &quot;speak, make their will, and confess.&quot; Chaucer&#039;s interest in alchemy, evinced in CYT, suggests the possibility of his awareness of this recipe.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261426">
    <dcterms:title><![CDATA[An Alchemical Freedom Flight: Linking the Manciple&#039;s Tale to the Second Nun&#039;s and Canon&#039;s Yeoman&#039;s Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Fragments VIII and IX are connected by opposed images of sight and blindness, idleness and work.  Themes of alchemical transformation and restraints on freedom (food, mates, language) also link the fragments.]]></dcterms:description>
</rdf:Description></rdf:RDF>