<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/277262">
    <dcterms:title><![CDATA[Beyond Consolation: The Ethics and Politics of Sorrow in Late Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. From the abstract: &quot;The chapters examine a range of Middle English literary texts that respond to the prescriptive recommendations for mourning outlined in Boethius&#039;s Consolation of Philosophy and in the . .  . penitential literature that emerged in the decades after the Fourth Lateran Council . . . , [including discussion of works by] authors such as Langland, Chaucer and Hoccleve.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277261">
    <dcterms:title><![CDATA[ Elegy in Crisis: Experimental Forms and the Influence of the Cult of the Dead in Middle-English Dream-Vision Elegies.]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes elegy and consolation as literary modes, considering the notion of Purgatory as a major underlying feature of the latter. Examines &quot;Pearl&quot; and BD as elegies, reading the latter &quot;as a resistant and secularising monument to suffering that avoids Christian consolation and explores the ambivalence of mourning.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277260">
    <dcterms:title><![CDATA[Disciplining the Tongue: Speech and Emotion in Later Middle English Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores speech in late medieval English &quot;literature and prescriptive religious writing,&quot; focusing on how &quot;inward feelings [are] realized only in intersubjective exchange.&quot; Includes discussion of, among others, &quot;Piers Plowman,&quot; &quot;Mum and the Sothsegger,&quot; and CT, In the latter, &quot;Chaucer makes mirth, comfort, and pleasure––words that elsewhere describe the act of prayer––the emotional norm that governs the telling of the Canterbury Tales: sacred pleasure becomes the pleasure of idle fiction.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277259">
    <dcterms:title><![CDATA[Affecting Affective Meditation: Visionary Experience and Practice in the Late Middle Ages.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;the way that gender, genre, form, and affect in late medieval devotion literatures, in the vernacular, provide varying degrees of access to spiritual reality for medieval women.&quot; Draws on &quot;contemporary affect theory&quot; and includes discussion of SNPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277258">
    <dcterms:title><![CDATA[Sound and Hearing in Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. From the abstract: &quot;My dissertation argues that numerous fourteenth-century texts connect listening with ethics in a phenomenon I call &quot;auditory poetics.&quot; I analyze human agency surrounding the creation and reception of sound in medieval writing. . . . The texts analyzed in my dissertation [include] Chaucer&#039;s&quot; HF and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277257">
    <dcterms:title><![CDATA[The Language of Prayer in Middle English, 1200-1400.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies &quot;nine components commonly found in prayers,&quot; exploring their presence in various devotional poems in Middle English and interpolated in narrative works by the &quot;Gawain&quot;-poet, Langland, Gower, and Chaucer, observing superior style in the latter group and instances where narrators interrupt prayer &quot;to relate it to the narrative situation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277256">
    <dcterms:title><![CDATA[The Distinction between Chaucer and Shakespeare&#039;s Rendition of Their Troilus and Criseyde (Cressida).]]></dcterms:title>
    <dcterms:description><![CDATA[Briefly describes differences between TC and Shakespeare&#039;s &quot;Troilus and Cressida,&quot; focusing on genre and style, characterization, and attitudes toward women.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277255">
    <dcterms:title><![CDATA[A Mulher de Bath.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. Dramatized adaptation of Wife of Bath materials; in Portuguese. Produced by Amir Haddad in 2018.<br />
]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277254">
    <dcterms:title><![CDATA[Estudando O Pagode (Na Opereta Segregamulher E Amor).]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record indicates this musical recording includes a track (no. 4; running time 4:01) entitled &quot;Quero Pensar : A Mulher de Bath&quot; [I Want To Think (The Wife Of Bath)], one of sixteen total tracks. Lyrics in Portuguese. Additional information available via https://www.discogs.com/; accessed July 31, 2025.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277253">
    <dcterms:title><![CDATA[The Self-fashioning of Chaucer&#039;s Franklin: The Performance of Chaucer&#039;s Franklin.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides background to franklins in medieval England and uses Stephen Greenblatt&#039;s notion of &quot;self-fashioning&quot; to assess the characterization of the Franklin in GP, in his words to the Squire (Sq-FranL), and in FranT as an &quot;embodiment of the &#039;new man,&#039; who has held administrative duties owing to his monetary status and thus who claims gentility despite his need for social recognition and acceptance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277252">
    <dcterms:title><![CDATA[Humour in the Petitionary Poems by Chaucer and Hoccleve.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the comic humor of Chaucer&#039;s Purse and Thomas Hoccleve&#039;s &quot;Complaint to Lady Money&quot; and &quot;La Response,&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277251">
    <dcterms:title><![CDATA[The Cooks of the Canterbury Tales: The Backstage of Bourgeois Social Drama.]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Victor Turner&#039;s idea of &quot;social drama&quot; and medieval notions of the status of food, cooks, and kitchen work to argue that, in GP, the Franklin&#039;s cook and the Cook of the Guildsmen effectively reflect and/or reinforce the social aspirations of their employers. Includes an abstract in Turkish and English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277250">
    <dcterms:title><![CDATA[The Change in Chaucerian Aesthetics: From The &quot;Tale of Sir Thopas&quot; to &quot;The Tale of Melibee.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the shift from exaggerated romance to philosophical discourse between Th and Mel, the voicing of these tales by Chaucer as narrator, and the responses of the pilgrims to the two tales, indicate a general shift of &quot;literary aesthetics&quot; and, in terms derived from Stephen Greenblatt, &quot;can be regarded as a reflection of Chaucer the poet&#039;s literary self-fashioning.&quot; Includes an abstract in Turkish and English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277249">
    <dcterms:title><![CDATA[Chaucerian Laughter in a &quot;Litel&quot; Tragedy: Humour in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that through &quot;exaggeration of romance and courtly love elements&quot; in TC and the &quot;heavenly laughter&quot; of Troilus at the poem&#039;s end, Chaucer &quot;turns the tragic story of Troilus and Criseyde first into a comedy then into a divine comedy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277248">
    <dcterms:title><![CDATA[&quot;With face pale&quot;: Melancholy Violence in John Lydgate&#039;s Troy and Thebes.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses John Lydgate as &quot;the premier learned war poet of the later English Middle Ages,&quot; exploring his &quot;Troy Book&quot; and &quot;Seige of Thebes&quot; for the ways they depict the violence of war. Includes recurrent attention to Lydgate&#039;s sources, Chaucer&#039;s TC, Anel, and KnT among them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277247">
    <dcterms:title><![CDATA[Histoire et Poésie: La Femme de Bath de Geoffrey Chaucer et la Comédie de l&#039;Allégorie Eschatologique.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges D.W. Robertson&#039;s approach to allegory and to the WBP, arguing that the medieval outlook was more flexible than Robertson asserted, more capable of varied attitudes toward present times, the historical past, the eschatological future, and the impact of the Resurrection. Argues that the Wife&#039;s view of her own sexuality and morality embodies a comic, positive view of accepting one&#039;s own worldly estate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277246">
    <dcterms:title><![CDATA[From Manuscripts to Printed Books: Behind the Scenes of the Appearance of The Complete Works of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the presentation of CT in manuscripts and printed books up to the publication of William Thynne&#039;s first complete works of Chaucer (1532). Focuses on editorial principles and concepts such as compilatio, authorship, and collation. In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277245">
    <dcterms:title><![CDATA[Reading 4: Voyages. 3rd ed.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate this classroom anthology, designed for use in elementary school, includes an adaptation of NPT by Berry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277244">
    <dcterms:title><![CDATA[The Knight&#039;s Tale by Geoffrey Chaucer in a Modern English Version.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record indicates this is a translation of KnT into Modern English prose.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277243">
    <dcterms:title><![CDATA[The House of Fame.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record indicates this is a translation of HF into Modern English verse.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277242">
    <dcterms:title><![CDATA[The Parliament of Fowls.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record indicates this is a translation of PF into Modern English verse.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277241">
    <dcterms:title><![CDATA[Figurações do Humor em Geoffrey Chaucer--Uma Leitura de &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Revised version of &quot;Humor e Ironia em Geoffrey Chaucer: O Conto do Molerio X O Conto do Feitor&quot; (2013)]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277240">
    <dcterms:title><![CDATA[Humor e Ironia em Geoffrey Chaucer: O Conto do Molerio X O Conto do Feitor.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses humor and irony in MilT and RvT, with attention to satire and Bakhtinian concerns of social class. In Portuguese, with an abstract in English. Revised by Márcia Maria de Medeiros as &quot;Figurações do Humor em Geoffrey Chaucer--Uma Leitura de &#039;The Canterbury Tales&#039;.&quot; In Suellen Cordovil de Silva, and Tiago Marques Luiz, eds. O Humor nas Literaturas de Expressão de Línqua Inglesa (São Paulo: Paco Editorial, 2018), pp. 13-38.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277239">
    <dcterms:title><![CDATA[A Study of the Textual Affiliations of Chaucer&#039;s &quot;Melibeus&quot; Considered in Its Relation to the French Source.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares &quot;the accepted and variant readings of &#039;Melibeus&#039; with the corresponding passages in the French source, &#039;Le Livre de Melibee et Prudence&#039;,&quot; assessing variants from fifty-seven manuscriptsof Mel and arguing that there was &quot;an earlier version of &#039;Melibeus&#039; by Chaucer in general circulation during the time the manuscripts we now have were copied.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/277238">
    <dcterms:title><![CDATA[Sources of Chaucer&#039;s Corones Two.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. Apparently pertains to TC 2.1735 and/or SNT 8.221.]]></dcterms:description>
</rdf:Description></rdf:RDF>