The monograph series Oxford Studies in Medieval Literature and
Culture showcases the plurilingual and multicultural quality of
medieval literature and actively seeks to promote research that not
only focuses on the array of subjects medievalists now pursue - in
literature, theology, and philosophy, in social, political,
jurisprudential, and intellectual history, the history of art, and
the history of science - but also that combines these subjects
productively. It offers innovative studies on topics that may
include, but are not limited to, manuscript and book history;
languages and literatures of the global Middle Ages; race and the
post-colonial; the digital humanities, media and performance;
music; medicine; the history of affect and the emotions; the
literature and practices of devotion; the theory and history of
gender and sexuality, ecocriticism and the environment; theories of
aesthetics; medievalism. The Arts of Disruption: Allegory and Piers
Plowman offers a series of new readings of the allegorical poem
Piers Plowman: but it is also a book about allegory. It argues not
just that there are distinctively disruptive 'arts' that occur in
allegory, but that allegory, because it is interested in the
difficulty of making meaning, is itself a disruptive art. The book
approaches this topic via the study of five medieval allegorical
narrative structures that exploit diegetic conflict and disruption.
Although very different, they all bring together contrasting
descriptions of spiritual process, in order to develop new
understanding and excite moral or devotional change. These five
structures are: the paradiastolic 'hypocritical figure' (such as
vices masked by being made to look like 'adjacent' virtues),
personification debate, violent language and gestures of apophasis,
narratives of bodily decline, and grail romance. Each appears in a
range of texts, which the book explores, along with other connected
materials in medieval rhetoric, logic, grammar, spiritual thought,
ethics, medicine, and romance iconography. These allegorical
narrative structures appear radically transformed in Piers Plowman,
where the poem makes further meaning out of the friction between
them. Much of the allegorical work of the poem occurs at the points
of their intersection, and within the conceptual gaps that open up
between them. Ranging across a wide variety of medieval allegorical
texts, the book shows from many perspectives allegory's
juxtaposition of the heterogeneous and its questioning of supposed
continuities.
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