<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/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:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275206">
    <dcterms:title><![CDATA[Transgressive Desire in Chaucer&#039;s &quot;Legend of Thisbe.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the use of the story of Pyramus and Thisbe in LGW reveals a queer critique of the patristic tradition of hermeneutics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275205">
    <dcterms:title><![CDATA[The Poetic Form of Voice in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on the circle rhyme in the second book of HF, which reflects the theory of poetic form and voice as found in the vision itself.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275204">
    <dcterms:title><![CDATA[&quot;Therout com so gret a noyse&quot;: The Harmony of the Spheres and Chaucerian Poetics.]]></dcterms:title>
    <dcterms:description><![CDATA[Notes that Chaucer &quot;uses musical references and metaphors in his poetry in order to discuss the art of writing poetry itself,&quot; and argues that in HF--and even in PF--Chaucer advances a &quot;poetics of noise.&quot; Summarizes the &quot;reception of the Pythagorean-Platonic conceptions&quot; of cosmic harmony in late medieval England, and suggests that, while attempting to reaffirm harmony in &quot;Temple of Glass,&quot; John Lydgate failed to &quot;suppress Chaucerian cacophony.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275203">
    <dcterms:title><![CDATA[Chaucers Klang(t)räume: Chaucer, Boethius und die Harmonie.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s depictions of music, poetry, sound, noise, cacophony, and harmony in PF; MilT; and, most extensively, HF, exploring how he adapted notions derived from Boethius&#039;s &quot;Consolation of Philosophy&quot; and his &quot;De musica,&quot; medieval perception theory, and the concept of the harmony of the spheres.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275202">
    <dcterms:title><![CDATA[Vitreous Visions: Stained Glass and Affective Engagement in John Lydgate&#039;s &quot;The Temple of Glass.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the &quot;effect and experience&quot; of the stained glass in HF and in Lydgate&#039;s &quot;underappreciated remobilization&quot; of it in his &quot;Temple of Glass,&quot; comparing the aesthetics of the dream visions with those of late medieval glass in England, its &quot;fragmented nature,&quot; and its &quot;affective power&quot; for viewers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275201">
    <dcterms:title><![CDATA[Re-Writing the Classics: Geoffrey Chaucer and &quot;The House of Fame.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the &quot;motif of visible speech&quot; in HF, identifying its source in Dante&#039;s &quot;Divine Comedy,&quot; and exploring its relations with questions of literary transmission, especially in depictions of the story of Dido, the eagle&#039;s speech, and the House of Rumor. Chaucer&#039;s account emphasizes the truthlessness of stories and the limitations of the human mind.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275200">
    <dcterms:title><![CDATA[&quot;Vt hkskdkxt&quot;: Early Medieval Cryptography, Textual Errors, and Scribal Agency.]]></dcterms:title>
    <dcterms:description><![CDATA[Refers to Roger Bacon&#039;s description of the use of encryption in Equat, noting that Chaucer&#039;s authorship is not definitive.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275199">
    <dcterms:title><![CDATA[Blanche, Two Chaucers and the Stanley Family: Rethinking the Reception of &quot;The Book of the Duchess.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Questions whether BD circulated in the fourteenth century and whether it was commissioned by John of Gaunt as an elegy for his wife. The mid-fifteenth-century manuscript Oxford, Bodleian Library, MS Fairfax 16 bears the arms of a court functionary, John Stanley of Hooton, who had contact with &quot;a cultural milieu centred on the Duke of Suffolk.&quot; That the manuscript contains both BD and HF &quot;may result from Suffolk&#039;s wife Alice Chaucer making available material from her grandfather&#039;s personal papers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275198">
    <dcterms:title><![CDATA[To Cut the Past: Queer Touch, Medieval Materiality, and the Craft of Wonder.]]></dcterms:title>
    <dcterms:description><![CDATA[Theorizes three medieval literary tropes (&quot;the bodily cut; stained glass; and, the grafted tree&quot;) as means to connect &quot;exclusive entities&quot; (dead and living, past and present, and earthly and celestial), as well as the medieval/postmodern divide. Includes discussion of stained glass in BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275197">
    <dcterms:title><![CDATA[Auctor and Auctoritee in Chaucer&#039;s &quot;The Book of the Duchess.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Highlights the &quot;creative disruptions of Chaucerian parody&quot; and argues that BD satirizes the language of courtly complaint to privilege more naturalistic expression of mourning. Through his conversation with the dreamer, the knight&#039;s language moves from highly conventional, impersonal phrasing common to the langue d&#039;amours to a &quot;bathetic simplicity&quot; that indicates the speaker&#039;s &quot;authenticity and naturalness.&quot; Claims that BD demonstrates how individual experience is best articulated through fresh rather than formal language.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275196">
    <dcterms:title><![CDATA[Discovering Woe: The Translation of Affect in Chaucer&#039;s &quot;Book of the Duchess&quot; and Spenser&#039;s &quot;Daphnaïda.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Drawing on affect theory and psychoanalytic methodologies, considers the relationship between the &quot;awake body&quot; and &quot;emotional utterance&quot; in BD, relating this to notions of &quot;translatio.&quot; Highlights the centrality of the Ceyx and Alcyone episode to this topic, exploring its interplay with Ovid&#039;s &quot;Metamorphoses&quot; and Spenser&#039;s &quot;Daphnaïda.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>