<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/275233">
    <dcterms:title><![CDATA[The &quot;Canon Yeoman&#039;s Tale&quot;: Invention, Discovery, Problem-Solving, and Innovation.]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets CYPT as &quot;Chaucerian critique of the male desire to use technological and scientific innovation to generate alone, excluding women from creation and thus overthrowing the normative pairing of sex contraries upon which medieval religious, social, and political authority resided.&quot; Designed for pedagogical use, includes several questions for discussion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275232">
    <dcterms:title><![CDATA[Feminism and Women&#039;s Experience in the &quot;Manciple&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;powerlessness of the voiceless&quot; in ManPT, focusing on Phebus&#039;s wife, who has no voice in the Tale, in contrast with the speaking crow whose voice is taken from him and the ventriloquized mother of the Manciple. Designed for pedagogical use, includes questions for discussion on voice and gender in ManPT, CT, and other works in Middle English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275231">
    <dcterms:title><![CDATA[The &quot;Friar&#039;s Tale&quot;: Animals and the Question of Human Agency.]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces the field of &quot;critical animal studies&quot; and assesses the degree to which characters and animals in FrT can be considered to have agency. Designed for pedagogical use, includes several questions for discussion and suggestions for further study of CT in light of critical animal studies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275230">
    <dcterms:title><![CDATA[The &quot;Prioress&#039;s Tale&quot;: Relating to the Past, Imagining the Past, Using the Past.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the relations between emotion and identity in PrPT, observing that the presence of Jews &quot;amps up its emotional charge,&quot; particularly how it &quot;provokes--and coopts--a huge range of emotions in the service of Christian piety.&quot; Considers the saints&#039; life genre, the age of the clergeon, song, performance, and rhyme royal as intensifiers. Designed for pedagogical use, includes several questions for discussion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275229">
    <dcterms:title><![CDATA[Imagining the World in Maps and Stories: &quot;Sir Thopas.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Thinks about Thopas &quot;in the context of medieval maps,&quot; and considers the Tale&#039;s pointers and misdirections in plot and genre, assessing them in light of the traditional Chaucer-Pilgrim / Chaucer-Poet distinction. Designed for pedagogical use, includes several questions for discussion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275228">
    <dcterms:title><![CDATA[Sexuality, Obscenity, and Genre in the &quot;Merchant&#039;s Tale&quot;: The Case of Fabliau.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the generic features of the fabliau, and explores how and what extent the MerT fulfills and overturns these features in its plot, diction, biblical allusion, and courtly conventions, also commenting on interpolations in two manuscripts. Designed for pedagogical use, includes several questions for discussion and suggestions for further reading.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275227">
    <dcterms:title><![CDATA[Race and Racism in the Man of Law&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats geography, lineal descent, and &quot;religious and political difference&quot; as racial markers in MLT and its analogues, suggesting that skin color &quot;lurks in the shadows.&quot; Designed for pedagogical use, includes several exercises and questions for discussion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275226">
    <dcterms:title><![CDATA[The Body and Its Politics in the &quot;Pardoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Cautions that what we say about the Pardoner&#039;s body &quot;might say something about ourselves&quot;; summarizes critical discussion of the Pardoner&#039;s sex, sexuality, and rhetoric; and comments on the Old Man, Death (compared to Terry Pratchett&#039;s Mort), the Host&#039;s response to the Pardoner, and the Pardoner&#039;s silence. Includes several classroom projects and questions for discussion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275225">
    <dcterms:title><![CDATA[The Idea of Public Poetry in the Reign of Richard II.]]></dcterms:title>
    <dcterms:description><![CDATA[Defines and describes the social and rhetorical emphases that characterize the persona and poetic &quot;common voice&quot; of late-medieval English &quot;public poetry,&quot; exemplified here most extensively in analyses of Langland&#039;s &quot;Piers Plowman&quot; and Gower&#039;s &quot;Confessio Amantis,&quot; but cast into relief by Chaucer&#039;s practices in CT, especially in MLT, FranT, and Mel. The voice is &quot;common&quot; insofar as it is &quot;vernacular, practical, worldly, plain, public-spirited, and peace-loving&quot; (96) speaking to their &quot;audience&#039;s best and most actively responsible selves as members of the human community&quot; (109).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275224">
    <dcterms:title><![CDATA[Putting the Plowman in His Place: Order and Genre in the Early Modern &quot;Canterbury Tales.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the inclusion in the mid-1500s of &quot;The Plowman&#039;s Tale&quot; in Chaucer&#039;s &quot;Workes&quot; and its effects in reading reception and influence on beast fable throughout the sixteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275223">
    <dcterms:title><![CDATA[The Merchant&#039;s Tale: &quot;Beryn&quot; and the London Company of Mercers.]]></dcterms:title>
    <dcterms:description><![CDATA[Connects &quot;The Prologue and Tale of Beryn&quot; (PTB) with the London Company of Mercers that met at St. Thomas Acon, suggesting that PTB was composed on the occasion of their feast in 1428 or 1430, exploring connections of the poem with John Carpenter, Richard Osbarn, &quot;Dick&quot; Whittington, and Thomas Marchaunt, and tracing the poem&#039;s concerns with pardoners and indulgences; social conflict; folly; and fellowship to the Company&#039;s interests, domestic and international. Also analyzes the thematic placement of PTB in CT manuscript Alnwick, Duke of Northumberland MS 455.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275222">
    <dcterms:title><![CDATA[Chaucer out of Bounds: Chaucerian Continuation, Adaptations, and Apocrypha.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the role of Chaucerian apocrypha and adaptations in defining &quot;Chaucerian,&quot; a concept &quot;that was as much a product of Chaucer&#039;s later editors, adapters, and imitators as it was a product of his contemporaries and predecessors.&quot; Considers anachronism in films and literature to be crucial to shaping the concept.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275221">
    <dcterms:title><![CDATA[Context, Form, and Text in &quot;Lack of Stedfastness.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the textual witnesses for issues of authorship and attribution, as well as the various forms in which Sted survives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275220">
    <dcterms:title><![CDATA[Sharing Minds in Panchrony: Chaucer&#039;s &quot;Fortune&quot; and &quot;Truth.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Uses the Boethian imagery of Fortune and her wheel in For and Truth to clarify &quot;situated cognition,&quot; exemplifying how visual images can enable cultural transmission across time.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275219">
    <dcterms:title><![CDATA[The English Lyric Tradition: Reading Poetic Masterpieces of the Middle Ages and Renaissance.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers instruction on how to read &quot;older poetry&quot; rhetorically, with emphasis on conventional forms and subgenres of lyric verse, and using the scansion system of Derek Attridge (1982). Chapter 4, &quot;The Love Complaint Ballade: Chaucer to Wyatt&quot; (pp. 72-89), includes close readings of Purse and the perhaps spurious Wom Unc (here titled &quot;Madame, for your newfangelnesse,&quot; its opening line), accompanied by background on the verse form and Chaucer&#039;s career.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275218">
    <dcterms:title><![CDATA[Frontières d&#039;un genre aux frontiers d&#039;une langue: Ballades typiques et atypiques d&#039;Eustache Deschamps, John Gower et Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces changes in the putatively fixed form of the balade as used by Eustache Deschamps, John Gower, Chaucer, and others, commenting on variations in number of stanzas, rhyme schemes, the inclusion of envoys, etc. Includes comments on Ven, For, Ros, Wom Nob, Truth, Gent, Sted, Scog, Buk, Purse, and &quot;Hyd Absolon&quot; embedded in LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275217">
    <dcterms:title><![CDATA[Authorship and the Discovery of Character in Medieval Romance.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Antigone and Cassandra in TC--characters who are themselves &quot;literary creators&quot;--to explore meta-level consideration of reader identification and authorial status.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275215">
    <dcterms:title><![CDATA[Courtly Love Hate Is Undead: Sadomasochistic Privilege in Chaucer&#039;s &quot;Troilus and Criseyde.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Slavoj Žižek&#039;s analysis of privilege and courtly love to assess the major characters of TC: the &quot;servile aggression&quot; of the narrator; Pandarus&#039;s &quot;patriarchal privilege&quot;; Crisyede&#039;s &quot;ethically heroic&quot; decisions about loving her husband, Troilus, and Diomede; and Troilus&#039;s transition from &quot;masochistic courtly lover&quot; to &quot;sadistic courtly hater.&quot; Compares these with Shakespeare&#039;s Troilus and Othello; Leonard, in Stanley Kubrick&#039;s &quot;Full Metal Jacket&quot;; and the &quot;sadomasochistic privilege&quot; of 2014 California spree-killer Elliot Rodger.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275214">
    <dcterms:title><![CDATA[Audience and Occasion.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores questions of audience, occasion, and a writer&#039;s control in classical and early modern western rhetoric, and applies these questions in a &quot;sample reading,&quot; examining TC, 3.1324–36 for the ways that it encourages readers &quot;to re-experience and to reflect on their own experiences of love as they rewrite Chaucer&#039;s poem for him.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275213">
    <dcterms:title><![CDATA[&quot;Troilus and Criseyde&quot; and the &quot;Parfit Blisse of Love.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer perceives a tension in Boethius&#039;s &quot;Consolation of Philosophy&quot; regarding the role of romantic love in the relation of this world to the divine. Chaucer envisages a version of romantic love that is a bridge between this world and the divine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275212">
    <dcterms:title><![CDATA[Earth.]]></dcterms:title>
    <dcterms:description><![CDATA[An edited epistolary exchange between medievalist Cohen and physical scientist Elkins-Tanton, exploring humanist and scientific perspectives on epistemology, point of view, temporality, beauty, and human comprehension of the earth and the cosmos. Includes brief comments on Troilus&#039;s view of earth from the spheres in TC, 5.1807–27, in contrast with views in &quot;Mandeville&#039;s Travels.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275211">
    <dcterms:title><![CDATA[&quot;In fourme of speche in change&quot;: Final -&quot;e&quot; in &quot;Troilus and Criseyde&quot; Book II, Lines 22-28.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the use of final -&quot;e&quot; in the fourth stanza of Book II of TC, and the ways in which early copyists paid attention to Chaucer&#039;s use of the letter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275210">
    <dcterms:title><![CDATA[Chaucer&#039;s The Legend of Cleopatra.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. Online information indicates that this volume addresses questions about why Chaucer included his legend of Cleopatra in LGW, his sources for the account, and its success as a poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275208">
    <dcterms:title><![CDATA[Chaucer&#039;s Lucretia and What Augustine Really Said about Rape: Two Reconsiderations.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s claim in LGW that St. Augustine &quot;hath gret compassioun / Of this Lucresse&quot; is neither ironic nor misinformed, but is an accurate account of Augustine&#039;s position. Situating Augustine&#039;s comments about Lucretia within the broader context of discussions of sin and rape in &quot;City of God,&quot; demonstrates that Augustine sympathizes with Lucretia rather than condemning her suicide. Contends that critics have misread Augustine and thus misunderstood Chaucer&#039;s statement about Augustine&#039;s compassion. Also suggests that Chaucer likely read &quot;City of God&quot; directly rather than through medieval summaries.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275207">
    <dcterms:title><![CDATA[Republican Chaucer: Lucan, Lucrece, and the &quot;Legend of Good Women.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that Lucan&#039;s &quot;Bellum civile,&quot; the medieval &quot;accessus&quot; tradition, and &quot;vitae Lucani&quot; together depict the Roman poet as a &quot;violated female,&quot; victimized by his &quot;tyrannical emperor,&quot; and abruptly silenced, arguing that this legacy influenced LGW (particularly LGWP, the account of Lucrece, and the abrupt ending of the poem), reflecting its critique of &quot;the loss of discursive and political liberty under the absolutist rule of Richard II.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>