<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/276955">
    <dcterms:title><![CDATA[&quot;[A]n Exterior Air of Pilgrimage&quot;: The Resilience of Pilgrimage Ecopoetics and Slow Travel from Chaucer&#039;s &quot;The Canterbury Tales&quot; to Jack Kerouac&#039;s &quot;On the Road.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the &quot;ecocritical insights&quot; of Jack Kerouac&#039;s &quot;On the Road&quot; via its intertexual relations with the &quot;pilgrimage ecopoetics&quot; of CT, exploring structural similarities in the works and their vernacularity, metatextual references, &quot;linguistic and physical contingency, and slow walking, where<br />
slowness functions as a form of rebellion.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276954">
    <dcterms:title><![CDATA[Two Clerical Dramatists, and Their Forgotten Heroines of the Celtic Revival: &quot;Ravishing&quot; Evelina and Scorned Gwendolen.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of WBT as &quot;inspiration&quot; for Reginald Heber&#039;s fragmentary verse-drama &quot;The Masque of Gwendolen&quot; (1830).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276953">
    <dcterms:title><![CDATA[Chaucerian Topoi and Topography in Thomas Dekker&#039;s (and John Webster&#039;s) &quot;Westward Ho&quot; (1605) and &quot;Northward Ho&quot; (1607).]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that Chaucerian estates satire in CT influenced the development of dramatic &quot;city comedy&quot; at the turn of the seventeenth century. Shows that in his &quot;Ho&quot; plays Dekker adapts Chaucer&#039;s London topographies, characterizations, themes, and motifs of game and play to develop &quot;neo-Chaucerian topoi and topography . . . in which everyone is a &#039;homo viator&#039; and &#039;homo ludens&#039;.&quot; Links these concerns with John Norden&#039;s 1593 map of London.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276952">
    <dcterms:title><![CDATA[Danger Lurks in the Darkness: The Ruskin/Burne-Jones Medieval Poetry Salon for Girls.]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces the activities and concerns of a Victorian &quot;salon&quot; conducted by John Ruskin and Edward Burne-Jones in which young women could &quot;engage in serious conversations about medieval poetry, about art, and about humanitarianism and virtue.&quot; Focuses on Ruskin and Burne-Jones&#039;s reception of LGW, with attention to Victorian depictions of Medea, Burne-Jones&#039;s tapestry of LGW and the Kelmscott Chaucer, and Ruskin&#039;s annotations in his copy of Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276951">
    <dcterms:title><![CDATA[A Credible Debt: Dekker as Host to Chaucer&#039;s Franklin.]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that in his pamphlet &quot;A Strange Horse-Race,&quot; Thomas Dekker quotes FranT &quot;to illustrate hospitality&quot; and the force of &quot;binding oaths&quot;; in his play &quot;The Shoemaker&#039;&#039;s Holiday,&quot; he &quot;drew on Chaucer&#039;s Franklin for material about credit and debt.&quot; Because Chaucer was reputed to be a debtor, and concerned with patience, obligation, and binding language, Dekker relied on  Chaucer as &quot;a model . . . not just as writer, but also as a debtor.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276950">
    <dcterms:title><![CDATA[&quot;Thou shalt knowen of oure Privetee / Moore than a maister of dyvynytee&quot;: Devils and Damnation in Chaucer&#039;s &quot;Canterbury Tales&quot; and Marlowe&#039;s &quot;Doctor Faustus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues &quot;that Chaucer&#039;s treatment of devils, damnation, and hell&quot; in CT &quot;resonates&quot; in &quot;Doctor Faustus,&quot; focusing on the yeoman-devil and &quot;the force and binding implications of illocutionary acts&quot; in FrT, as well as on &quot;interesting parallels&quot; between the Pardoner and Faustus as &quot;vain characters&quot; who are &quot;master rhetoricians&quot; and &quot;contemptuous of conventional morality.&quot; Contrasts Chaucer&#039;s and Marlowe&#039;s views of penitence--comic and tragic respectively.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276949">
    <dcterms:title><![CDATA[&quot;The Winter&#039;s Tale&quot;: Decorum, Distinction, and Shakespeare&#039;s Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Shakespeare&#039;s title, &quot;The Winter&#039;s Tale,&quot; adapts a possessive form associated with Chaucerian narratives--the x&#039;s tale--&quot; and identifies similarities between the play and ManT. Focuses on the works&#039; attention to linguistic register--&quot;linguistic distinctions between people of different types and stations&quot;--and argues that Shakespeare asserts both &quot;similarity to Chaucer&quot; and &quot;independence from him.&quot; Appends a coda on &quot;lemman&quot; and &quot;ladies&quot; in early printings of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276948">
    <dcterms:title><![CDATA[&quot;Palamon and Arcite&quot;: Early Elizabethan Court Theatre.]]></dcterms:title>
    <dcterms:description><![CDATA[Extracts information about Richard Edwards&#039;s now-lost play &quot;Palamon and Arcite,&quot; from three extant contemporary accounts of the visit of Queen Elizabeth I to Oxford, where she attended a performance of the play in 1566. The accounts--by Miles Windsor, Nicholas Robinson, and John Bereblock--evince plot and details (with one quotation recorded), staging and performance (including accidental deaths), and some awareness of relations with KnT as source.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276947">
    <dcterms:title><![CDATA[The Day of the Serpent: A Brother Chandler Medieval Mystery.]]></dcterms:title>
    <dcterms:description><![CDATA[Historical murder mystery set in 1400, in the months after Henry IV&#039;s usurpation of Richard II&#039;s throne. &quot;Master&quot; Chaucer and Adam are involved with copying Lollard treatises; Matilda, Chaucer&#039;s house-maid, is involved with friar-cum-sleuth Brother Chandler.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276946">
    <dcterms:title><![CDATA[Playing Chaucer at the Early Elizabethan Inns of Court.]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses performance texts associated with the early Elizabethan Inns of Court (&quot;closet dramas, translations, masques, and orations&quot;), arguing that they reflect four Chaucerian &quot;paradigms of play&quot; (&quot;Chaucerian Self-Fashioning,&quot; &quot;Chaucerian Arraignments,&quot; &quot;Masques and Orations,&quot; and &quot;Staging The Canterbury Tales&quot;). Comments on Chaucer&#039;s putative legal associations and works by Barnabe Googe, Jasper Heywood, Thomas Pound, George Gascoigne, Gerard Legh, and more, identifying influences of TC, KnT, ClT, HF, and other Chaucerian poems.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276945">
    <dcterms:title><![CDATA[The Good Wife of Bath: A (Mostly) True Story.]]></dcterms:title>
    <dcterms:description><![CDATA[Historical novel in which the setting, plot, and first-person protagonist, Eleanor (later Alyson) are based on WBPT, with many characters adapted from history and from CT, including Chaucer. Includes a glossary, list of historical characters, author&#039;s note on composition, and a series of study questions for book groups.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276944">
    <dcterms:title><![CDATA[Chaucer&#039;s Speech and Thought Representation in &quot;Troilus and Criseyde&quot;: Encoded Subjectivities and Semantic Extension.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers a technical linguistic analysis of STR (speech and thought representation) in TC, theorizing a hierarchical &quot;structure of subjectivities&quot; to examine samples from the poem, attending to nuances latent in diction, situation, point of view, manuscript context, editorial intervention, etc. Concludes with comments on the &quot;plasticity&quot; of Chaucer&#039;s STR, the &quot;varying subjectivities that are likely to be encoded&quot; in it, and how they &quot;allow for semantic extension.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276943">
    <dcterms:title><![CDATA[Chaucer and the Streams of Parnassus.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s &quot;polyphony and polyvocality&quot; are both &quot;modern&quot; and &quot;progressive&quot;--justification for dismantling the period boundary between medieval and Early Modern literatures. Surveys mixed, condescending praise by Early Modern critics of Chaucer as an ancient but indecorous writer, then demonstrates how Robert Greene&#039;s valuation of Chaucer in &quot;Greene&#039;s Vision&quot; (1592) offers a valid view of him as a up-to-date model of polyvocality. Comments on the Clerk&#039;s view of Petrarch, ClT 4.26-30.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276942">
    <dcterms:title><![CDATA[&quot;Tis More Ancient Than Chaucer Himself&quot;: Keats and Romantic Polyphony.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the polyphonies of John Keats&#039;s poetry (as identified by Helen Vendler) are attributable to his engagements with Chaucer&#039;s works and Chaucerian apocrypha, reflecting a particular kind of &quot;Englishness,&quot; underpinned by travel and encounters with French and Italian literatures.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276941">
    <dcterms:title><![CDATA[Polyphony and the Modern.]]></dcterms:title>
    <dcterms:description><![CDATA[Raises questions about what it means to be modern in one own&#039;s time and about polyphony (including polyphonic music, polyvocality, and literary dialogism) as an index to modernity, collecting fourteen essays on relevant topics, most of them on medieval music and literature. For three essays that pertain to Chaucer, search for Polyphony and the Modern under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276940">
    <dcterms:title><![CDATA[Performing Generic Exhaustion: Implosive Households in Gavin Douglas&#039;s &quot;Palice of Honour.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the role of lists, themes of order and disorder, epistemology and poetics, and tensions between household economy and monetized mercantile accretion (chremastistics) in Douglas&#039;s &quot;Palice of Honour&quot; as a response to similar concerns in Chaucer&#039;s HF and his other dream poems. Argues that, especially in Venus&#039;s mirror, Douglas exceeds Chaucer&#039;s concern with excessiveness and destabilizes the &quot;genre of faculty allegory.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276939">
    <dcterms:title><![CDATA[Epic Lists: The Matter of Troy and the Catalogue Form in Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Chaucer&#039;s list of poets of Troy in HF 1460ff. as a &quot;vantage point&quot; to demonstrate how epic catalogs in Middle English Troy narratives are &quot;sites of scepticism towards established truths, questioning the Trojan War, the claims of epic, and poetry itself.&quot; Also considers these concerns in the &quot;Seege or Batayle of Troye,&quot; the &quot;Laud Troy Book,&quot; the &quot;&#039;Gest Hystoriale&#039; of the Destruction of Troy,&quot; and John Lydgate&#039;s &quot;Troy Book.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276938">
    <dcterms:title><![CDATA[Reformation Lists: Syntax, the Sacred, and the Production of Junk.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the syntax and rhetorical/literary functions of the &quot;open-ended list that forms part of a sentence,&quot; focusing on those composed during the &quot;cultural revolution&quot; at the beginning of the Reformation in sixteenth-century England, but framed by discussion of syntactical contrasts between apposition in the list in House of Rumour in HF 1951-76 and hypotaxis in the opening of Milton&#039;s &quot;Paradise Lost&quot; 1.1-10.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276937">
    <dcterms:title><![CDATA[The Epic Tree Catalogue from Chaucer to Spenser.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on the &quot;Chaucerian tree catalogue[s]&quot; in Philip Sidney&#039;s &quot;Old Arcadia&quot; and Edmund Spenser&#039;s &quot;Faerie Queene,&quot; tracing the device as a &quot;subtype of epic catalogue&quot; in classical tradition and in KnT and PF, exploring its narrative, &quot;metareferential,&quot; and &quot;metapoetic&quot; functions as an act of &quot;self-insertion into the poetic tradition.&quot; Tabulates the trees, their epithets, and their significations shared by the three English poets.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276936">
    <dcterms:title><![CDATA[Enlistment: Lists in Medieval and Early Modern Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Collects ten essays by various authors that discuss lists and listing as epistemological, rhetorical, and poetic devices, with an introduction by the editors (&quot;Enlistment as Poetic Stratagem&quot;), and a comprehensive index. For four essays that pertain to Chaucer, search for Enlistment: Lists in Medieval and Early Modern Literature under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276935">
    <dcterms:title><![CDATA[Queer Time, Queer Forms: Noir Medievalism and Patience Agbabi&#039;s &quot;Telling Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how the &quot;circular and recursive form&quot; of Agbabi&#039;s poetic adaptations of CT in her &quot;Telling Tales&quot; (2015) &quot;showcases&quot; the &quot;queer time of medievalism and the queer form of adaptation.&quot; Focuses on Agbabi&#039;s versions of Mel (&quot;Unfinished Business&quot;), ClT (&quot;I Go Back to May 1967&quot;), and MLT (&quot;Joined-Up Writing&quot;).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276934">
    <dcterms:title><![CDATA[Speak like a Child: Caroline Bergvall&#039;s Medievalist Trilogy.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;inbetweenedness&quot; of language in Caroline Bergvall&#039;s poetic/performative &quot;trilogy--&quot;Meddle English&quot; (2011), &quot;Drift&quot; (2014), and &quot;Alisoun Sings&quot; (2019)--including discussion of her uses of forms of &quot;Chaucer&#039;s Middle English, as well as Old English and Old Norse.&quot; Assesses &quot;The Host&#039;s Tale&quot; (from &quot;Meddle English&quot;) as a &quot;mash-up&quot; of Chaucer that &quot;sets a tone &quot;for Bergvall&#039;s &quot;Chaucerian experiment,&quot; comparing it with the treatment of the Host in Lydgate&#039;s &quot;Siege of Thebes.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276933">
    <dcterms:title><![CDATA[Postmodern Poetics and Queer Medievalisms: Time Mechanics.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes eight essays by various authors, an Introduction by the editor, and a comprehensive Index. For three essays that pertain to Chaucer, search for Postmodern Poetics and Queer Medievalisms: Time Mechanics under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276932">
    <dcterms:title><![CDATA[feeld Notes: Jos Charles&#039;s Chaucerian &quot;anteseedynts.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Jos Charles&#039;s &quot;transpoetics&quot; in &quot;feeld&quot; (2018), showing how the collection of poems capitalizes on the &quot;historical ruptures&quot; and other constitutive features of Middle English, mimicking its &quot;malleability and fluidity.&quot; Also suggests that Charles&#039;s technique is analogous to medieval musical &quot;hocket&quot; and explores how Charles&#039;s dramatic monologue &quot;reconceives&quot; the Wife of Bath&#039;s  in WBT, assessing several resonances.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/omeka/items/show/276931">
    <dcterms:title><![CDATA[&quot;Think of All the Differences!&quot; Mixed Marriages in Transcultural Adaptations of Chaucer&#039;s &quot;Man of Law&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how the 2003 BBC adaptation of MLT and Patience Agbabi&#039;s &quot;Telling Tales&quot; (2004) &quot;respond to the xenophobic and imperialist ideology of the original,&quot; challenging the relationship that MLT &quot;posits between familial and national loyalties,&quot; reconfiguring &quot;racial, familial, and religious identity,&quot; and confronting audiences with the importance of remembering as well as interrogating the past. Links the narratives with representations of Thomas Jefferson&#039;s &quot;role as father and forebear&quot; and Chaucer&#039;s as &quot;father&quot; of English poetry.]]></dcterms:description>
</rdf:Description></rdf:RDF>
