<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/271922">
    <dcterms:title><![CDATA[Antifeminist Tradition in Arthur and Gorlagon and the Quest to Understand Women]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Arthur and Gorlagon&quot; and WBPT share numerous misogynist topoi as well as the plot element of a mission to understand women. The Latin romance is thus &quot;a more significant analogue for the combined Prologue and Tale . . . than has been recognized.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275369">
    <dcterms:title><![CDATA[Antigone&#039;s Song as &quot;Mirour&quot; in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Antigone&#039;s song (TC 2.827-75) as a &quot;reply to Criseyde&#039;s objections to love&quot; which precedes it in the narrative. Much of the song derives from Guillaume de Machaut&#039;s &quot;Paradis d&#039;Amour,&quot; but its sequence and several ideas mirror Criseyde&#039;s earlier ruminations, anticipate &quot;the attitudes toward love which will govern the development of the whole poem,&quot; and reflect &quot;the action and imagery of the passages preceding and following it.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270835">
    <dcterms:title><![CDATA[Antimercantilism in Late Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the development of mercantile practice in the late Middle Ages and depictions of merchants in English literature, from early satires to greater acceptability. Includes sections on merchants in Langland&#039;s &quot;Piers Plowman,&quot; Gower&#039;s &quot;Mirour de l&#039;Omme,&quot; the &quot;Book of Margery Kempe,&quot; the &quot;Libelle of Englyshe Polycye,&quot; the &quot;Tale of Beryn,&quot; the York cycle, and Chaucer&#039;s CT. Chapter 4, &quot;The Deliberate Ambiguity of Chaucer&#039;s Anxious Merchants&quot; (pp. 77-100), assesses Chaucer&#039;s concern with the &quot;efficacy of satire&quot; as he offers both pro- and antimercantile treatments in the GP description of the &quot;elusive&quot; Merchant, the &quot;unmercantile&quot; MerT, and ShT, where mercantilism is displaced to France. Through this variety, Ladd traces what &quot;Chaucer requires from his readers.&quot;.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263746">
    <dcterms:title><![CDATA[Antinomic Cluster Analysis and the Boethian Verbal Structure of Chaucer&#039;s &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Throughout MerT synonyms for the Boethian values of true bliss and sorrow are juxtaposed to develop the theme of the woe that is in marriage--parallel to the &quot;contemptus mundi&quot; theme of the &quot;Consolation.&quot;  The protagonist of MerT uses Boethian synonyms but in his rejection of reason inverts the terms and their moral values in the &quot;Consolation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265568">
    <dcterms:title><![CDATA[Antiquarian or Bibliographer? The Dilemma of Thomas Frognall Dibdin]]></dcterms:title>
    <dcterms:description><![CDATA[Cites Dibdin&#039;s views on the authenticity of Chaucer&#039;s Ret to illustrate the former&#039;s development as a critical bibliographer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262536">
    <dcterms:title><![CDATA[Antiquity and Beyond: The Death of Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[In the earliest Troilus myths, Troilus is &quot;not primarily a character but a &#039;function&#039;&quot;:  his murder early in the Trojan War is an &quot;omen&quot; of Troy&#039;s impending fall.  In later works, Troilus&#039;s character is more fully developed, and his death--late in the war--is part of the fall.  Cressida and the heterosexual love interest do not appear until the twelfth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277015">
    <dcterms:title><![CDATA[Antiracist Medievalisms: From &quot;Yellow Peril&quot; to Black Lives Matter. Leeds]]></dcterms:title>
    <dcterms:description><![CDATA[Opens with an account of teaching PrT in comparison with Patience Agbabi&#039;s adaptation of it in &quot;Telling Tales&quot; (2015), helping to introduce the goal of the entire volume: promoting resistance to racist, xenophobic, and homophobic distortions and misuses of medieval culture and medievalisms. Chapter 6, &quot;Pilgrimage: Chaucerian Poets of Color in Motion,&quot; examines the &quot;relationship between race and transit in works by Chaucerian poets of color&quot;--Agbabi, Jean &quot;Binta&quot; Breeze, Marilyn Nelson, Frank Mundo,<br />
and Ouyang Yu--in their adaptations of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273098">
    <dcterms:title><![CDATA[Antisemitism and the Purposes of Historicism: Chaucer&#039;s &quot;Prioress&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Responds to two critical analyses of PrT by Aranye Fradenburg and Lee Patterson, which highlight &quot;methodological and ethical concerns&quot; with historical analysis of the Tale. Promotes the need to &quot;theorize  and historicize&quot; in order to gain deeper understanding of the ethical issues of PrT within the context of medieval Jewish-Christian relations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264944">
    <dcterms:title><![CDATA[Antithesis as the Principle of Design in the &#039;Parlement of Foules&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Antithesis is the major source of PF&#039;s aesthetic unity.  It arranges the poem&#039;s structural levels in a pattern of oppositions:  antithetical word pairs are joined by antithetical arrangements of style, description, characterization, plot, narrative, presentation, tone, and theme.  PF&#039;s structure is not organic but governed by a design which requires the poem&#039;s antithetical meanings and themes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272353">
    <dcterms:title><![CDATA[Anxieties at Table: Food and Drink in Chaucer&#039;s Fabliaux tales and Heinrich Wittenwiler&#039;s&#039; Der Ring&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes Chaucer and Wittenwiler from the &quot;perspective of anxiety at the table.&quot; Explores how &quot;food- and drink-conveyed class anxieties are used as plot devices&quot; to develop action in MlT, RvT, and &quot;Der Ring.&quot; Also mentions possible connections between MerT and &quot;Der Ring.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275145">
    <dcterms:title><![CDATA[Apes and Japes: Laughter and Animality in the &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that, rooted in &quot;animality&quot; that is &quot;carefully performed and constructed,&quot; the humor of MilT &quot;functions to erect a conception of humanity over and against the ostracized and inferior semi-human.&quot; The Miller performs his animality, and, abjecting Absolon through laughter, Alisoun and Nicholas establish a hierarchy and take the &quot;position of superior &#039;human.&#039;&quot; Comments on suggestive language in the tale and connections with Boccaccio&#039;s &quot;Decameron,&quot; 7.1, displaying ways that &quot;laughter [is] always unequal.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262197">
    <dcterms:title><![CDATA[Aphrodite/Artemis // Emilia/Alison : The Semiotics of Perception]]></dcterms:title>
    <dcterms:description><![CDATA[The feminist film criticism theory of the &quot;male gaze&quot; articulates the &quot;triangulated&quot; male-female relationship of KnT and MilT as they arise in response to Boccaccio&#039;s elucidation of the gaze in his &quot;Teseida&quot; and in relation to two classical &quot;archetypes of the inscribed female&quot;:  Aphrodite, signifying &quot;male mastery,&quot; and Artemis, representing masculine &quot;disempowerment.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268915">
    <dcterms:title><![CDATA[Apocalypse and Memory in Pearl]]></dcterms:title>
    <dcterms:description><![CDATA[Considers BD and Pearl as case studies in the search for &quot;an appropriate, adequate language of commemoration,&quot; as opposed to prior models of elegiac language.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269325">
    <dcterms:title><![CDATA[Apocalyptic Imagination and Historical Text: A Study of The Divine Comedy, The Book of the Duchess and Pearl]]></dcterms:title>
    <dcterms:description><![CDATA[Considers relationships among apocalypse, history, and literary closure in Dante&#039;s Paradiso, Chaucer&#039;s BD, and Pearl. Dante brings apocalypse into history, while the other two poets use it to contrast human temporality.]]></dcterms:description>
    <dcterms:description><![CDATA[In Korean, with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277227">
    <dcterms:title><![CDATA[Apocalyptic Mentalities in Late-Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;study of the apocalyptic in the English literature of the late fourteenth cannot boil down simply to the tracing of sources or to historicist (New and otherwise) readings of contemporary texts and artifacts,&quot; and pursues, instead, &quot;the ways in which apocalyptic comes to be known&quot; by assessing several related &quot;fields of meaning&quot;: death, ecclesiastical authority, and confessional practice. Uses these as chapter-subjects, and surveys how their contingencies--and the unattainable &quot;pretensions&quot; of writing itself--help us to understand &quot;the apocalyptic&quot; in works such as CT (especially PardPT, ParsPT, and Ret), Gower&#039;s &quot;Confessio Amantis,&quot; &quot;Pearl,&quot; &quot;Cleannesse,&quot; and a number of others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269057">
    <dcterms:title><![CDATA[Apollo and Admetus : The Forms of Classical Myth Through the Middle Ages and the Renaissance]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the developments and distortions of the classical myth of Apollo&#039;s service to Admetus and its association with love; includes discussion of the allusion in TC 1.659-65.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267846">
    <dcterms:title><![CDATA[Apollo Exterminans : The God of Poetry in Chaucer&#039;s Manciple&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Parallels between Chaucer&#039;s treatment of Phebus [Apollo] and the treatments in Dante&#039;s &quot;Paradiso&quot; and Alain de Lille suggest that ManT reflects the literary tradition of Apollonian ineptitude and prepares the way for the Parson&#039;s Christian reinvocation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270848">
    <dcterms:title><![CDATA[Apollo&#039;s Chariot and the Christian Subtext of The Franklin&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Lee assesses FranT as a &quot;sequel&quot; to SqT that repudiates its magic, replaces its stasis with moral development in the idea of &quot;gentilesse,&quot; and provides a missing Christian subtext--a &quot;Christmas miniature&quot; that precedes the apparent disappearance of the rocks. The tales of Fragment 5 are also fused by references to Apollo, which Lee explains in light of Chaucer&#039;s Mars, his ABC, and the apocryphal &quot;Flower and the Leaf.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269364">
    <dcterms:title><![CDATA[Apollo&#039;s Holy Laurel: Troilus and Criseyde III, 542-43]]></dcterms:title>
    <dcterms:description><![CDATA[Troilus&#039;s reference to Apollo speaking &quot;out of a tree&quot; (TC 3.543) is likely not a reflection of Chaucer&#039;s misunderstanding Ovid. Numerous authors Chaucer may have read, including Bartholomaeus Anglicus, provide grounds for the conclusion that the oracle of Apollo was expressed through a laurel tree.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261384">
    <dcterms:title><![CDATA[Apollonius of Tyre: Medieval and Renaissance Themes and Variation, Including the Text of the Historia Apollonii Regis Tyri with an English Translation]]></dcterms:title>
    <dcterms:description><![CDATA[Documents and discusses the development, influence, and literary relations of the story of Apollonius to 1609, assessing its formal characteristics and reception.  Occasional mention of Chaucer, particularly MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266615">
    <dcterms:title><![CDATA[Apologia pro Criseyde: &#039;Of Harmes Two, the Lesse Is for to Chese]]></dcterms:title>
    <dcterms:description><![CDATA[Though there are elements of courtly love in TC, the poem does not evaluate Criseyde by courtly standards.  Instead, it shows her choosing the &quot;lesser harm&quot; of being unfaithful rather than endangered.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265140">
    <dcterms:title><![CDATA[Aporia and Pearl: Medieval Narrative Irony]]></dcterms:title>
    <dcterms:description><![CDATA[In medieval narrative theory, &quot;aporia&quot; is set forth as a way of examining the moment when the ironic process begins.  BD relies on a withdrawal from literal statement which brings the author&#039;s intention to the reader through the process of irony.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274196">
    <dcterms:title><![CDATA[Apostrophe, Devotion, and Anti-Semitism: Rhetorical Community in the &quot;Prioress&#039;s Prologue and Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers &quot;shared speech&quot; to be a theme and a device in PrPT, focusing on apostrophe, prayer, Christian devotion, and anti-Semitic sentiment as means to and expressions of rhetorical community. Describes the place of apostrophe in medieval rhetorical theory, and argues that PrT &quot;illustrates the potential dangers&quot; posed by excited, pathos-ridden recitation of shared communal values, whether expressed orally or in writing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261385">
    <dcterms:title><![CDATA[Apostrophe, Prayer, and the Structure of Satire in The Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s additions to Trevet&#039;s tale of Constance consist chiefly of rhetorical additions by the narrator and prayers by Custance, converting the tale to a satire of the narrator&#039;s long-winded fatalistic views.  Apostrophe and prayer, &quot;converse&quot; forms of address in rhetorical tradition, here pit Custance&#039;s providential outlook against that of her narrator rather than that of her persecutors in the plot.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261880">
    <dcterms:title><![CDATA[Appearance and Reality in Chaucer&#039;s Early Dream Visions]]></dcterms:title>
    <dcterms:description><![CDATA[BD and HF show thematic unity of conflict between appearance (attractive externals) and reality (the authority of books). Replacing reality with worship for the artificial, mutable object is error.]]></dcterms:description>
</rdf:Description></rdf:RDF>