<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/264662">
    <dcterms:title><![CDATA[&#039;Evere an Hundred Goode ageyn Oon Badde&#039;: Catalogues of Good Women in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[The labels &quot;antifeminism&quot; and &quot;courtly love&quot; misrepresent the medieval literary treatment of women.  Three types--the chaste wife, the &quot;manly&quot; virgin, and the martyr of love--dominate the catalogues through the Middle Ages. ]]></dcterms:description>
    <dcterms:description><![CDATA[Chaucer drew mainly upon the idea of love&#039;s martyrs from Ovid and Virgil, and the question of what makes a good woman becomes for him an aspect of the larger conflicts between men and women and between authority and experience.  In LGW and CT the catalogues reveal more about their tellers than about women.  Chaucer&#039;s development of characterization reaches its culmination in Dorigen and the Wife of Bath.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265028">
    <dcterms:title><![CDATA[&#039;Exempla&#039; in &#039;The Man of Law&#039;s Tale&#039;: The Re-Casting of a Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Secular exempla evoke Fortune&#039;s rise and fall; religious ones, divine intervention for good.  They fit Constance&#039;s romance architectonically and thematically.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266212">
    <dcterms:title><![CDATA[&#039;Experience Woot Well It Is Noght So&#039;: Marriage and the Pursuit of Happiness in the Wie of Bath&#039;s Prologue and Tale]]></dcterms:title>
    <dcterms:description><![CDATA[A new-historicist reading that focuses on the conditions of marriage depicted in WBPT to show how the Wife uses the late-medieval marital system for her own private, emotional advantage.  She capitalizes on the social and economic opportunities of wifedom and widowhood rather than seeking to challenge them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269745">
    <dcterms:title><![CDATA[&#039;Faire Emelye&#039;: Medievalism and the Moral Courage of Emily Wilding Davison]]></dcterms:title>
    <dcterms:description><![CDATA[Considered in the light of key themes of Victorian medievalism and of her own early identification with Chaucer&#039;s Emily, Davison&#039;s actions--especially those leading to her untimely death--stand as expressions of her ethical commitment, rather than as deeds of the &quot;wild enthusiast&quot; for which historians have frequently taken her.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264745">
    <dcterms:title><![CDATA[&#039;Faire Subtile Wordes&#039;: An Approach to Chaucer&#039;s Verbal Art]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s comments on language show him to be particularly sensitive to all aspects of English, which had become fully accepted as a literary language.  Along with other Middle English writers like the &quot;Gawain&quot;-poet and Langland, he manipulates levels of style with skill, and he displays great lexical variety.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264184">
    <dcterms:title><![CDATA[&#039;Fals Apparences&#039;: Satan and Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The motif of &quot;fals apparences&quot; is a unifying factor of HF.  The eagle as sophist or false philosopher, in seizing the narrator as prey, is reminiscent of Satan as fowler, or Dante&#039;s Gerione, emblem of fraud.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270323">
    <dcterms:title><![CDATA[&#039;Fayre Sisters Al&#039;: &#039;The Flower and the Leaf&#039; and &#039;The Assembly of Ladies&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;The Flower and the Leaf&quot; and &quot;The Assembly of Ladies&quot; are both concerned with female chastity as a means to effective power, the first asserting this theme and the second expressing frustration with such assertions. Also surveys questions of authorship of the two poems, long attributed to Chaucer, and compares their &quot;non-traditional uses&quot; of dream-vision conventions with parallel ones in works by Christine de Pisan and Chaucer, particularly LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267779">
    <dcterms:title><![CDATA[&#039;Feloun&#039; and &#039;Felonye&#039; : Violence and Violent Crime in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Examines felons and felony in Chaucer&#039;s works, focusing on CT and how such crimes reflect on the knightly class.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270553">
    <dcterms:title><![CDATA[&#039;Femme sole&#039; and mercantile writing in late medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the social and economic status of the &quot;femme sole&quot; in late medieval England, and discusses the role of the figure in select Paston letters, the Book of Margery Kempe, and CT, particularly the Guildsmen, the WBPT, MerT, ShT, and the Host/Pardoner altercation at the end of PardT. Includes an appendix of texts that define the &quot;femme sole.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272469">
    <dcterms:title><![CDATA[&#039;Fer in the north, I kan nat telle where&#039;: Gentility and Provincialism in Chaucer&#039;s &#039;Reeve&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the name &quot;Strother&quot; in RvT is not a place name but a surname, and suggests a connection between the tale&#039;s fictional clerks, John and Aleyn, and two junior members of the prominent Strother family of Northumberland.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269887">
    <dcterms:title><![CDATA[&#039;Fer in the north; I kan nat telle where&#039;: Dialect, Regionalism, and Philologism]]></dcterms:title>
    <dcterms:description><![CDATA[Analogous to orientalism, the &quot;philologism&quot; of RvT is rooted in &quot;North-South binaries&quot; that partake of and help to constitute southern condescension to northerners in England, even before the rise of a Standard Written Dialect. Informed by  the theory of Pierre Bourdieu, the essay compares and contrasts the &quot;regionalist generalizations&quot; in RvT, The Second  Shepherd&#039;s Play, and elsewhere in Middle English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264932">
    <dcterms:title><![CDATA[&#039;Fere&#039; and &#039;Drede&#039; in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The main characters in TC are oppressed in various senses.  How to enhance and ennoble them despite their unfortunate situation is one of Chaucer&#039;s undertakings.  He cannot, however, free himself from the given conditions of the Trojan cycle.  Hence his own fear prevails in the whole narrative.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264628">
    <dcterms:title><![CDATA[&#039;Feynede Loves,&#039; Feigned Love, and Faith in Trouthe]]></dcterms:title>
    <dcterms:description><![CDATA[The dichotomy between &quot;trouthe&quot; (fidelity) and truth (actuality) marks TC from the outset.  &quot;Trouthe&quot; in love is linked to &quot;routhe&quot; and &quot;kyndenesse,&quot; and on every level is compromised by the characters&#039; feigning.]]></dcterms:description>
    <dcterms:description><![CDATA[Moreover, the proverbs which are so much a part of the poem, are equivocal inasmuch as they are both prophetic and ironic.  The narrator, finally disillusioned with the feigned love and lore, arrives at his own version of &quot;trouthe.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261746">
    <dcterms:title><![CDATA[&#039;Ffor as moche as yche man may not haue the astrolabe&#039;: Popular Middle English Variations on the Computus]]></dcterms:title>
    <dcterms:description><![CDATA[Mentions Astr in the context of a historical survey of knowledge of the Latin computus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263494">
    <dcterms:title><![CDATA[&#039;Figmenta vs Veritas&#039;: Dame Alice and the Medieval Literary Depiction of Women by Women]]></dcterms:title>
    <dcterms:description><![CDATA[Examination of the Wife of Bath&#039;s hypothesis that if women wrote stories literature would be misandric; yet men are the ones who promote the one-sided ideal of feminine excellence. Hrotsvita of Gandersheim and Christine de Pizan show women who are catalysts of salvation for their men.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263578">
    <dcterms:title><![CDATA[&#039;Figures of Olde Werk&#039;: Visions of Virgil in Later Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Virgil elicits &quot;humanizing,&quot; &quot;allegorical,&quot; romance responses in LGW and HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273054">
    <dcterms:title><![CDATA[&#039;For All Is Good that Hath Good End&#039;: Death Culture, Literary Form, and the &#039;Ends&#039; of Writing in Fifteenth-Century English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Looks at writers, including Hoccleve and Lydgate, as responding to and shaping a post-Chaucerian literary era, examining both the &quot;end&quot;  of Chaucer&#039;s era and the &quot;end&quot; or purpose of their own work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266307">
    <dcterms:title><![CDATA[&#039;For All That Comth, Comth by Necessitee&#039;: Chaucer&#039;s Critique of Fourteenth-Century Boethianism in &#039;Troilus and Criseyde&#039; IV, 957-58]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, Chaucer adapts Boethian thought to expose the dangers of the radical determinism of John Wyclif.  Such determinism fails to remedy Troilus&#039;s loss of Criseyde, posing dangers to society as well as to the individual.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263241">
    <dcterms:title><![CDATA[&#039;For Craft Is Al, Whoso That Do It Kan&#039;: The Genre of &#039;The Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[MerT is an ethical narrative in which the aenigmalogue (puzzling narrative surface) is blended with the apologue (Augustinian &quot;oversense&quot;), thus revealing the Merchant as a Manichean and January as a parody of Jovinian.  The apologue is signaled by allusion, irony, undercutting, and disputational structure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263999">
    <dcterms:title><![CDATA[&#039;For Drye as Whit as Chalk&#039;: Allegory in Chaucer and Malory]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the Canacee episode in SqT through &quot;poetic and biblical exegesis&quot; and compares it to similar materials in Malory&#039;s &quot;Morte Darthur.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271952">
    <dcterms:title><![CDATA[&#039;For Goddes Love&#039;: Rhetorical Expression in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on how the idiomatic phrase &quot;for goddes love&quot; is used in TC as &quot;an expression of power&quot; and how the phrase &quot;appeals to a divine system of mercy and justice&quot; when used by Troilus, Criseyde, and Pandarus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271863">
    <dcterms:title><![CDATA[&#039;For gode&#039; in Chaucer and the &#039;Gawain&#039; Poet]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the phrase &quot;for gode&quot; in MilT (I.3526) is not, as is often assumed, a misspelling meaning &quot;by God,&quot; but rather an intentional use of a phrase appearing in unsophisticated texts of the period. The phrase has similarly been misunderstood in &quot;Sir Gawain and the Green Knight,&quot; lines 965 and 1822.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270022">
    <dcterms:title><![CDATA[&#039;For my synne and for my yong delite&#039;: Chaucer, the &#039;Tale of Beryn,&#039; and the Problem of Adolescentia]]></dcterms:title>
    <dcterms:description><![CDATA[Not just a continuation of CT, the &quot;Tale of Beryn&quot; engages Chaucer&#039;s work critically. Assigned, in the anonymous Interlude, to the Merchant on the return journey, &quot;Beryn&quot; challenges the Clerk&#039;s notion of male adolescence as a stage of pre-identity that will lead to maturity. The sense of adolescence as a force to be controlled in &quot;Beryn&quot; may connect with efforts to stem Lollardy by focusing on the young and their education.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269281">
    <dcterms:title><![CDATA[&#039;For myn entente nys but for to pleye&#039;: On the Playground with the Wife of Bath, the Clerk of Oxford, and Jacques Derrida]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the opposition between the Clerk and the Wife of Bath in light of Derrida&#039;s opposition between the structuralist desire to decipher signs and the poststructuralist impulse to play with the &quot;instability of signs.&quot; The Wife is an &quot;anachronistic allegory of Derrida&#039;s play of structure, whose only truth is that there is not a single truth.&quot; In his Envoy, the Clerk transgresses his own efforts to specify meaning.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Winfried Rudolf, Thomas Honegger, and Andrew James Johnston, eds. Clerks, Wives, and Historians: Essays on Medieval Language and Literature. Variations, no. 8 (New York: Peter Lang, 2007), pp. 47-68.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268391">
    <dcterms:title><![CDATA[&#039;For sorwe of which he brak his minstralcye&#039;: The Demise of the &#039;Sweete Noyse&#039; of Verse in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[ManT and the depiction of the Manciple reflect Chaucer&#039;s effort to undermine bourgeois threats to court culture, his critique of practical &quot;wit,&quot; and, simultaneously, his affirmation of the destructive power of adultery.]]></dcterms:description>
</rdf:Description></rdf:RDF>