LEADER 04169nam 2200697 a 450 001 9910824536503321 005 20240416190332.0 010 $a1-282-85877-7 010 $a9786612858772 010 $a0-7735-6858-1 024 7 $a10.1515/9780773568587 035 $a(CKB)1000000000244964 035 $a(OCoLC)756606898 035 $a(CaPaEBR)ebrary10119825 035 $a(SSID)ssj0000281866 035 $a(PQKBManifestationID)11214858 035 $a(PQKBTitleCode)TC0000281866 035 $a(PQKBWorkID)10307936 035 $a(PQKB)11471205 035 $a(CaPaEBR)400264 035 $a(CaBNvSL)gtp00521522 035 $a(Au-PeEL)EBL3330569 035 $a(CaPaEBR)ebr10132750 035 $a(OCoLC)929120773 035 $a(VaAlCD)20.500.12592/g53065 035 $a(schport)gibson_crkn/2009-12-01/1/400264 035 $a(MiAaPQ)EBC3330569 035 $a(DE-B1597)656851 035 $a(DE-B1597)9780773568587 035 $a(MiAaPQ)EBC3243478 035 $a(EXLCZ)991000000000244964 100 $a20011205d2000 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMedieval arts doctrines on ambiguity and their place in Langland's poetics /$fJohn Chamberlin 205 $a1st ed. 210 $aMontreal ;$aIthaca, [N.Y.] $cMcGill-Queen's University Press$dc2000 215 $a1 online resource (198 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-7735-2073-2 320 $aIncludes bibliographical references and index. 327 $tFront Matter -- $tContents -- $tPreface -- $tAcknowledgments -- $tIntroduction -- $tLexical Ambiguity in the Arts of Discourse and in Piers Plowman -- $tLexical Ambiguity: Context, Ground, and Overview -- $tAugustine on Ambiguity -- $tThe Twelfth Century and Arts of Discourse -- $tPiers Plowman: The Resources of Ambiguity in the Samaritan?s Sermon -- $tTransition -- $tThe Ambiguity of Words-as-Words in the Arts of Discourse and in Piers Plowman -- $tWords-as-Words: Context, Ground, and Overview -- $tAugustine on Words-as-Words -- $tThe Twelfth Century and Words-as-Words -- $tPiers Plowman and the Ambiguity of Words-as-Words -- $tConclusion -- $tWorks Cited -- $tIndex 330 $aChamberlin's focal point for this synthesis is the concept of ambiguity, which has played an important role in the liberal arts tradition and in medieval discourses regarding reading and preaching - discourses that are fundamental to Langland's poetic ways with words. His work takes its place among other recent attempts to retrieve medieval literary theory, making it possible for it to inform the reading of medieval literature, but places this theory within a particularly wide context. Chamberlin claims that the excess of meaning ambiguity gives language is at least as important to the understanding of Piers Plowman and other medieval texts as is allegory. He deals with lexical ambiguity and the ambiguity of words-as-words - in which words themselves are taken as objects - offering linguistic, philosophical, and historical perspectives on these subjects. How ambiguity works in Langland's poetry is explained in close analysis of a number of passages from the poem. Chamberlin's overview of the historical development of the concept of ambiguity pays special attention to the doctrines of Augustine and the twelfth-century masters. He elucidates these by reference to similar ideas from Romantic and twentieth-century theorists, providing a coherent view of language that stands as an alternative to structuralist and post-structuralist views. 606 $aAmbiguity in literature 606 $aPoetics$xHistory$yTo 1500 606 $aAesthetics, Medieval 615 0$aAmbiguity in literature. 615 0$aPoetics$xHistory 615 0$aAesthetics, Medieval. 676 $a821/.1 700 $aChamberlin$b John$f1942-$01719985 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910824536503321 996 $aMedieval arts doctrines on ambiguity and their place in Langland's poetics$94118254 997 $aUNINA