Probing spatial questions about God posed by Piers Plowman, the author of this interdisciplinary study turns to pictorial evidence-the use of religious space and relationships within such space in English art of the same period. The Place of God in Piers Plowman and Medieval Art is not only a study of the sense of God and of the relationship between God and creatures in the great religious poem, but also an analysis of art works of the high Middle Ages, especially English manuscript illuminations, in their placement of God. Such interdisciplinary analysis historicizes both literature and art, uncovering ways that medieval people imagined God and the understandings that they would have been able to bring to reading and viewing religious art.
The Craft of Thought, first published in 1998, is a companion to Mary Carruthers' earlier study of memory in medieval culture, The Book of Memory. This more recent volume examines medieval monastic meditation as a discipline for making thoughts, and discusses its influence on literature, art, and architecture. In a process akin to today's 'creative' thinking, or 'cognition', this discipline recognises the essential roles of imagination and emotion in meditation. Deriving examples from a variety of late antique and medieval sources, with excursions into modern architectural memorials, this study emphasises meditation as an act of literary composition or invention, the techniques of which notably involved both words and making mental 'pictures' for thinking and composing.
Probing spatial questions about God posed by Piers Plowman, the author of this interdisciplinary study turns to pictorial evidence-the use of religious space and relationships within such space in English art of the same period. The Place of God in Piers Plowman and Medieval Art is not only a study of the sense of God and of the relationship between God and creatures in the great religious poem, but also an analysis of art works of the high Middle Ages, especially English manuscript illuminations, in their placement of God. Such interdisciplinary analysis historicizes both literature and art, uncovering ways that medieval people imagined God and the understandings that they would have been able to bring to reading and viewing religious art.
A Game of Heuene is a stylistic study of word play in the B-version of the Middle English narrative poem, Piers Plowman. In a close reading of Passus I, IX, XI, and XVIII, Davlin shows the frequency of word play and its effectiveness in multiplying meaning, developing themes, and suggesting relationships. Like other notorious `shifting, unstable' elements of style in Piers Plowman, its word play is enigmatic and demands of the reader intense attention and play of mind. Davlin argues that such demands are a way of involving the reader in the text as `a game of heuene' (Langland's phrase for language, IX, 104), which teaches how to read experience as well as words in order to find Treuthe. The difficult form of Piers Plowman,is thus mimetic of its protagonist's struggle to experience Treuthe, and also ludic, requiring the reader to share aesthetically in Will's experience by playing the `game of heuene', learning `kyndeli to knowe --Treuthe'through deciphering its enigmas. A Game of Heuene advocates and demonstrates close reading with attention to word play, and should be useful to beginning students of Piers Plowmanas well as to scholars; its explication opens the meaning of particular passages and proposes a new understanding of the meaning of the entire structure and style of the poem .
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