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Aesthetics, Medieval --- Medieval aesthetics --- Aesthetics, Medieval.

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Chamberlin'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.

Ambiguity in literature. --- Poetics --- History --- Aesthetics, Medieval. --- Langland, William, --- Aesthetics. --- Medieval aesthetics --- Langland, Robert, --- Langland, Uĭli︠a︡m,

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CHAUCER (GEOFFREY), d. 1400 --- FRENCH POETRY --- GUILLAUME DE MACHAUT, ca 1300-1377 --- MEDIEVAL AESTHETICS --- IDENTITE DANS LA LITTERATURE --- INFLUENCE --- TO 1500 --- CHAUCER (GEOFFREY), d. 1400 --- FRENCH POETRY --- GUILLAUME DE MACHAUT, ca 1300-1377 --- MEDIEVAL AESTHETICS --- IDENTITE DANS LA LITTERATURE --- INFLUENCE --- TO 1500

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Scholarship often treats the post-Roman art produced in central and north-western Europe as representative of the pagan identities of the new 'Germanic' rulers of the early medieval world. In this book, Matthias Friedrich offers a critical reevaluation of the ethnic and religious categories of art that still inform our understanding of early medieval art and archaeology. He scrutinises early medieval visual culture by combining archaeological approaches with art historical methods based on contemporary theory. Friedrich examines the transformation of Roman imperial images, together with the contemporary, highly ornamented material culture that is epitomized by 'animal art.' Through a rigorous analysis of a range of objects, he demonstrates how these pathways produced an aesthetic that promoted variety (varietas), a cross-cultural concept that bridged the various ethnic and religious identities of post-Roman Europe and the Mediterranean worlds.

Art and society --- Art, Medieval --- Art --- Aesthetics, Roman. --- Aesthetics, Medieval. --- Medieval aesthetics --- Roman aesthetics --- Art and sociology --- Society and art --- Sociology and art --- History --- Themes, motives. --- Historiography. --- Subjects --- Social aspects

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Aesthetics [Medieval ] --- Esthetica [Middeleeuwse ] --- Esthétique médiévale --- Medieval aesthetics --- Middeleeuwse esthetica --- Arts, Medieval --- Civilization, Medieval --- Aesthetics, Medieval --- Arts médiévaux --- Civilisation médiévale --- Esthetique medievale. --- Arts medievaux. --- Civilisation medievale. --- Arts médiévaux --- Civilisation médiévale --- Esthétique médiévale --- Esthétique médiévale. --- ESTHETIQUE --- MOYEN AGE