<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/omeka/items/show/277171">
    <dcterms:title><![CDATA[Swoon: A Poetics of Passing Out.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys literary representations of swooning from late medieval works to modern ones, assessing how the motif is &quot;inflected and re-inflected as ideas of the body, gender, race, sexuality and sickness shift through time.&quot; After an introductory essay on theorizations of swooning and fainting, Chapter 1, &quot;Heart-Stopped Transformations: Swooning in Late Medieval Literature,&quot; includes discussion of TC, in which swoons signify danger and transformation, with contrasts between Troilus&#039;s and Criseyde&#039;s swoons reflecting their individual vulnerabilities that comprise an anatomy of erotic love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277170">
    <dcterms:title><![CDATA[Calkas&#039;s Daughter: Paternal Authority and Feminine Virtue in &quot;Troilus and Criseyde&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Criseyde&#039;s role as daughter in TC, Calkas&#039;s putative authority over her in marital matters, and the views of other characters concerning her ambiguous, conditional consent to her father&#039;s wishes. Treats Criseyde&#039;s &quot;feminine virtue&quot; and Calkas&#039;s authority over her as reflections of medieval social expectations, arguing that the appearance of Criseyde&#039;s consent is (like Calkas&#039;s authority) &quot;performative,&quot; her means to keep her reputation intact while maintaining considerable independence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277169">
    <dcterms:title><![CDATA[&quot;A Sacramental Moment&quot;: Liturgy and Time in the Victorian Reception of the Past.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;the importance of ritual in the Victorian reception of the medieval past,&quot; including discussion of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277168">
    <dcterms:title><![CDATA[Henry Bradshaw&#039;s Rhyme Tests and the Formation of the Chaucer Canon: The Glasgow &quot;Romaunt of the Rose&quot; and the &quot;Tale of Gamelyn.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contains archival evidence and unpublished papers from Henry Bradshaw. Examines Bradshaw&#039;s &quot;rhyme tests,&quot; which he used to establish Chaucerian authorship of the &quot;Tale of Gamelyn&quot; and Rom, and accounts for Walter W. Skeat&#039;s sometimes incorrect results.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277167">
    <dcterms:title><![CDATA[The Varieties of Amorous Experience: For Voice &amp; Piano.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this musical score includes &quot;Qui bien aime&quot; by Geoffrey Chaucer, i.e., the title of a French song cited in several manuscripts of PF before the roundel at PF, 680-92, here set to music, along with selections from Thomas Flatman, William Shakespeare, and Coventry Patmore.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277166">
    <dcterms:title><![CDATA[Natural Law and Parliamentary Election in Geoffrey Chaucer&#039;s &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that PF reflects a movement from natural law to a more subjective interpretation of individual rights and ties this transition to the crisis of &quot;commonalty&quot; in the late fourteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277165">
    <dcterms:title><![CDATA[The Translator as Author: The Case of Geoffrey Chaucer&#039;s &quot;The Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts medieval and modern ideas of authorship, focusing on how Chaucer &quot;treated old authorities in developing his own reputation and what strategies he employed to establish a harmony among the multiple authorial voices&quot; in PF. Proposes that, for Chaucer, authorship is defined by the &quot;level of the author&#039;s creative input&quot; in combination with the occasion of a work, its &quot;original context and purpose,&quot; and its various possible audiences]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277164">
    <dcterms:title><![CDATA[Disharmonic Spheres: Metapoetic Noise in Geoffrey Chaucer&#039;s &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the background to and representations of the harmony of the spheres in PF and in HF, arguing that both poems depict the &quot;three ventricles of the brain&quot;--imagination, logic, and memory--and that, through parody and/or inversion, each depicts a poetics, &quot;the cornerstone of which is disharmony rather than harmony.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277163">
    <dcterms:title><![CDATA[The Dragon of Love: Chaucer&#039;s Jason and the Cycle of Consumption in the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Jason in LGW and other sexually predatory men, examines a number of motifs in Chaucer&#039;s version of Jason, and highlights the danger of men such as Jason who hide their behavior behind gentility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277162">
    <dcterms:title><![CDATA[Female Goodness for Geoffrey Chaucer: Misconception or Intention?]]></dcterms:title>
    <dcterms:description><![CDATA[Briefly summarizes LGWP and assesses in detail each of the legends, arguing that, generally, Chaucer&#039;s anti-misogynistic effort fails. Although his &quot;primary goal is to speak of good women as examples for the society and equal to men,&quot; his selection of women, his sources, his characterizations of women and men, and his &quot;&quot;of goodness&quot; are fundamentally patriarchal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277161">
    <dcterms:title><![CDATA[Dismembered Memories: Philomela in Chaucer and Gower.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts Chaucer&#039;s and Gower&#039;s Philomela stories, focusing on differences between the nuances and implications of weaving in LGW and embroidery in &quot;Confessio Amantis,&quot; and arguing that Chaucer&#039;s version aligns better with modern understanding of &quot;trauma-fragmented memory,&quot; speaking, and rape survival.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277159">
    <dcterms:title><![CDATA[Ambient Media and Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that, rooted in &quot;medieval theory of mediated perception&quot; and concerned with perceptual distortion, HF shows how a &quot;sensing body&quot; participates in an &quot;ambient mediascape&quot;--one that includes environmental media (air, water, architecture) as well as aesthetic media (painting, engraving, writing).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277158">
    <dcterms:title><![CDATA[The Hall of Honor: Chaucer, Hawes, and the Conclusion to Gerard Legh&#039;s &quot;Accedens of Armory.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows how Legh uses the dream vision structure from HF but employs a frame of memory and &quot;argues against Chaucer&#039;s position that fame is unrelated to deserving.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277157">
    <dcterms:title><![CDATA[On Truth, &quot;Pietà,&quot; and Reader Response to Dante&#039;s &quot;Purgatory&quot; 10 and Chaucer&#039;s &quot;House of Fame 1.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the hermeneutics of ekphrastic scenes in &quot;Purgatorio&quot; and HF: the viewing by Dante&#039;s viator of bas-reliefs in the first cornice of Purgatory (X.25ff.) encourages emotional detachment when searching for truth in art; Geffrey&#039;s compassion when viewing the murals on the walls of Venus&#039;s temple in HF (140ff.) &quot;is precisely what prompts him to reject such representations and search for truth elsewhere.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277156">
    <dcterms:title><![CDATA[Airy Bodies and Knowledge in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;embodiment of language&quot; in HF and argues that it displays epistemological &quot;confidence in the ability of the textual word/body to communicate accurately to the reader&#039;s imagination in a synesthetic experience.&quot; Focuses on how Chaucer (following Dante&#039;s Thomistic hylomorphism) &quot;portrays audible speech as visible shades of the speakers&quot; and &quot;calls attention to the spoken word embodied in writing.&quot; Also comments on the textual history of HF in manuscripts and early print.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277155">
    <dcterms:title><![CDATA[Poetry and the Bird in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the eagle in HF &quot;represents poetry,&quot; manifest in its &quot;uncanny perception,&quot; its ability to &quot;uplift&quot; the narrator, and its concern with sound and transformative power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277154">
    <dcterms:title><![CDATA[Chrematistische Poetik: Mentale Haushaltsführung in Geoffrey Chaucers &quot;Traumvisionen.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that HF depicts a journey through the mental operation of using traditional classical material to generate new literature (tidings) and, in doing so, reflects aspects of late medieval understanding of psychology and economics. Crucial to the latter is a shift from the model of household maintenance to that of chresmatistic mercantile expansion, which depends upon dislocation, multiplication, even unnatural usury--in various ways analogous to imagination rather than memory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277153">
    <dcterms:title><![CDATA[&quot;But men seyn, &#039;What may ever last?&#039;&quot;: Chaucer&#039;s &quot;House of Fame&quot; as a Medieval Museum.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers possibilities of assessing material archeology in medieval literature and offers a case study concerning HF, observing connections between the brass-tablet account of Aeneas in the poem (lines 140ff.) and monumental brasses, hypothesizing Fame&#039;s palace as a medieval version of a museum, and connecting them both with the open-endedness of the poem and early modern sensibilities.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277152">
    <dcterms:title><![CDATA[Pope and Chaucer: Reconstructing &quot;The House of Fame&quot; in the Reign of Queen Anne.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in his reworking of HF as &quot;The Temple of Fame,&quot; Alexander Pope &quot;comprehensively repudiates the inconclusiveness&quot; of Chaucer&#039;s work. Where Chaucer suggests &quot;the contradictions and confusions&quot; of literary tradition and authority, Pope assumes authority and &quot;almost entirely excludes hesitancy and ambiguity from his consideration.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277151">
    <dcterms:title><![CDATA[Further Notes on J. R. R. Tolkien&#039;s Photostats of &quot;The Equatorie of the Planetis&quot; (MS Peterhouse 75.I).]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies which folios of Cambridge, Peterhouse, MS 75.I are included (photostatic copies) in the Tolkien archive of Oxford, Bodleian Library, Tolkien VC 277, using the copies to assess Tolkien&#039;s possible assistance to Derek J. Price and R. M. Wilson in their 1955 Cambridge University Press edition of Equat and the putative attribution of Equat to Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277150">
    <dcterms:title><![CDATA[Addenda: One Middle English Manuscript and Four Editions of Medieval Works Known to J. R. R. Tolkien and What They Reveal.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes photostats of Cambridge, Peterhouse, MS 75.I (Equat) among several additions to &quot;Section A&quot; of Oronzo Cilli&#039;s &quot;Tolkien&#039;s Library: An Annotated Checklist&quot; (Edinburgh: Luna Press, 2019), and comments on Tolkien&#039;s concern with scribal corruption in Chaucer&#039;s works and his own.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277149">
    <dcterms:title><![CDATA[Narrator Theory and Medieval English Narratives.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the applicability of modern narratology to medieval narratives, examining the narrating position in &quot;King Horn&quot; as popular romance and in BD as adaptation of a French &quot;dit,&quot; and showing that novel-based notions of narrator-as-character do not apply. In Chaucer&#039;s case, the first-person pronouns convey &quot;a proximal deictic,&quot; i.e., &quot;a certain literary effect, one that is hard to define except as &#039;I-ness&#039;--the sense of being a centre of experience and perception.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277148">
    <dcterms:title><![CDATA[Geoffrey Chaucers &quot;Carrenare&quot;: Zum Verhältnis von Poesie und Geographie im 14. Jahrhundert.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines geographical and literary backgrounds to Chaucer&#039;s use of &quot;Carrenare&quot; in BD, 1029, identifying it with &quot;Caramoran&quot; (especially as found in Marco Polo and Mandeville), and suggesting it helps to separate Blanche from the vanities of the courtly world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277147">
    <dcterms:title><![CDATA[&quot;A Familiar Vois and Stevene&quot;: Hearing Voices in Chaucer&#039;s Dream Visions.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines auditory cognition in BD, PF, and HF, attending particularly to &quot;janglynge&quot; and related concepts. BD illustrates differences between hearing and listening, while PF records a &quot;paradigm shift&quot; from seeing to listening, and HF reflects Chaucer&#039;s &quot;sense of the partiality of his own poetic voice, dependent as it is on the collaboration of his auditor to come into being.&quot; Attends to noise, gossip, voice, animal sounds, acousmatic sound and reading, transduction, listening &quot;modalities,&quot; and theories of aurality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277146">
    <dcterms:title><![CDATA[&quot;Poetical Works of Geoffrey Chaucer&quot; in the Nineteenth Century: Social Influences on Editorial Practice.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the text of BD found in the 1807 collected edition &quot;The Poetical Works of Geoffrey Chaucer,&quot; showing &quot;that it is fair to consider the work a new edition,&quot; based on John Urry&#039;s 1721 edition of BD and loosely following Thomas Tyrwhitt&#039;s critique of Urry. Attends to verb forms, pronouns, and punctuation, observing that the 1807 edition is evidently the first printed edition to use the title &quot;Book of the Duchess.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>