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Langland's comic vision (William Lan...

Perrin, Curtis Maxwell.

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Langland's comic vision (William Langland).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Langland's comic vision (William Langland)./
Author:	Perrin, Curtis Maxwell.
Description:	350 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 4017.
Contained By:	Dissertation Abstracts International66-11A.
Subject:	Literature, Medieval. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3194695
ISBN:	9780542394591

Langland's comic vision (William Langland).
Perrin, Curtis Maxwell.

Langland's comic vision (William Langland). - 350 p.

Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 4017.

Thesis (Ph.D.)--Yale University, 2005.

This study argues that comedy is broadly present in Piers Plowman in a range of different types. I define comedy as a particular perspective on life and the world, involving humility, lightheartedness, and a tolerance for ambiguity, which appears in the poem both as comic elements in the dream visions and as the perspective that forms those visions themselves (Introduction).

ISBN: 9780542394591Subjects--Topical Terms:

571675
Literature, Medieval.

Langland's comic vision (William Langland).
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100 1 $a Perrin, Curtis Maxwell. $3 1917030
245 1 0 $a Langland's comic vision (William Langland).
300 $a 350 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 4017.
500 $a Director: Traugott Lawler.
502 $a Thesis (Ph.D.)--Yale University, 2005.
520 $a This study argues that comedy is broadly present in Piers Plowman in a range of different types. I define comedy as a particular perspective on life and the world, involving humility, lightheartedness, and a tolerance for ambiguity, which appears in the poem both as comic elements in the dream visions and as the perspective that forms those visions themselves (Introduction).
520 $a Successive chapters provide a comic reading of the entire poem. I start by examining the surface cues in the Prologue to show how it sets dimensions of response that shape a comic reading of it (ch. 1). In my analysis of the Visio, I look at comic dualities in its wordplay, personifications, and treatment of the pardon scene (ch. 2). In the pardon scene, these dualities push the limits of playfulness and cause the narrator to have a "crisis" about salvation that the Vita must resolve. The Vita's resolution of this crisis takes the form of the narrator's comic "education," enabling him to surmount the personal limitations that hinder his quest for Dowel. At the same time, the poem also redefines its own modes of representation, especially in terms of how it uses personifications (ch. 3). The movement away from static personification allegory toward a more dynamic, and comic, typological mode of allegory "mirrors" a change in the narrator that allows him to understand larger, affirmative comic patterns (ch. 4). In a great reversal, however, the end of the poem resists this affirmative message, although in a way that is its final, most comic statement. In fact, its resistance to being programmatic about its optimism is Piers's best form of cheer (ch. 5).
590 $a School code: 0265.
650 4 $a Literature, Medieval. $3 571675
650 4 $a Literature, English. $3 1017709
690 $a 0297
690 $a 0593
710 2 0 $a Yale University. $3 515640
773 0 $t Dissertation Abstracts International $g 66-11A.
790 1 0 $a Lawler, Traugott, $e advisor
790 $a 0265
791 $a Ph.D.
792 $a 2005
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3194695