Exploration of the Arabic psychological theory underlying Piers Plowmanand the interpretive insights this offers. The psychology underlying Passus 8-20 of Piers Plowmanremains unexplored in its entirety, despite single articles on separate psychological personifications. Professor Kaulbach aims to remedy this huge gap in our understanding of Langland's poem, by adducing a psychology which not only illuminates previously mysterious relations between psychological actants, but also reveals that many apparently non-psychological figures (Piers Plowman, for example) are best explained by reference to psychological theory. The body of psychological theory on which the author draws is that of Arabic, specifically Avicennan theory of the prophetic mental act, the `vis imaginativa' or `ymaginatif' in Middle English. Beyond the original interpretative insights offered by this book Professor Kaulbach also describes the intellectual and manuscript context in which Arabic psychology was made available to a late fourteenth century English poet. ERNEST N. KAULBACHis Associate Professor of English, Classics and (occasionally) Philosophy at the University of Texas at Austin.

Old and Middle English literature can be obscure and challenging. So, too, can the vast body of criticism it has elicited. Yet the masters of medieval literature often drew on similar texts, since imitation was admired. For this reason, recent scholarship has often focused on the importance of genre. The genre in which a work was written can illuminate the author's intentions and the text's meaning. Read in light of a genre's parameters, a given work can be considered in relation to other works within the same category. This reference is a comprehensive overview of Old and Middle English literature. Chapters focus on particular genres, such as Allegorical Verse, Balladry, Beast Fable, Chronicle, Debate Poetry, Epic and Heroic, Lyric, Middle English Parody/Burlesque, Religious and Allegorical Verse, and Romance. Expert contributors define the primary characteristics of each genre and discuss relevant literary works. Chapters provide extensive reviews of scholarship and close with detailed bibliographies. A more thorough bibliography of major scholarly studies closes the book.

Rogers' philosophical and theological investigation of the unifying themes of Piers Plowman argues that the structure of the text reflects William Langland's view of the world and human experience.

This book examines William Langland’s late medieval poem, The Vision of Piers Plowman, in light of contemporary intellectual thought. David Strong argues that where the philosophers John Duns Scotus and William of Ockham revolutionize the view of human potential through their theories of epistemology, ethics, and freedom of the will, Langland vivifies these ideas by contextualizing them in an individual’s search for truth and love. Specifically, the text ponders the intersection between reason and the will in expressing love. While scholars have consistently noted the text’s indebtedness to these higher strains of thought, this is the first book-length study in over thirty years that explores the depth of this interconnection, and the only one that considers the salience of both Scotus and Ockham. It is essential reading for medieval literary specialists and students as well as any cultural historian who desires to augment their knowledge of truth and love.

The first full commentary on Piers Plowman since the late nineteenth century is inaugurated with the publication of the first two of its five projected volumes.

The first full commentary on Piers Plowman since the late nineteenth century is inaugurated with the publication of the first two of its five projected volumes.

This book capitalizes on brilliant recent work on sixteenth-century iconoclasm to extend the study of images, both their making and their breaking, into an earlier period and wider discursive territories. Pressures towards iconoclasm are powerfully registered in fourteenth and fifteenth-century writings, both heterodox and orthodox, just as the use of images is central to the practice of both politics and religion. The governance of images turns out, indeed, to be central to governance itself. It is also of critical concern in any moment of historical change, when new cultural forms must incorporate or destroy the images of the old order. The iconoclast redescribes images as pure matter, objects of idolatry worthy only of the hammer. Issues of historical memory, no less than of social ethics, are, then, inherent to the making, love, and destruction of images. These issues are the consistent concern of the essays of this volume, essays commissioned from a range of outstanding late medievalists in a variety of disciplines: literature, art history, Biblical studies, and intellectual history.