The Space of the Medieval Allegory: William Langland’s Vision of Piers Plowman

Allegory as a genre of medieval literature is over treated as something fictitious and schematic, replaced later by more vivacious, bright and substantial pictures of the reality. However, when examining allegory not only as an artistic method but also as a way to percept and shape reality, we can s...

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Autor principal:	Valentina S. Sergeeva
Formato:	article
Lenguaje:	EN RU
Publicado:	Russian Academy of Sciences. A.M. Gorky Institute of World Literature 2020
Materias:	allegory vision langland medieval literature english literature Slavic languages. Baltic languages. Albanian languages PG1-9665
Acceso en línea:	https://doaj.org/article/b776367f5aa247e99e7629c00e5ed153
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id	oai:doaj.org-article:b776367f5aa247e99e7629c00e5ed153
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spelling	oai:doaj.org-article:b776367f5aa247e99e7629c00e5ed1532021-12-02T19:40:47ZThe Space of the Medieval Allegory: William Langland’s Vision of Piers Plowman10.22455/2619-0311-2020-1-146-1752619-03112712-8512https://doaj.org/article/b776367f5aa247e99e7629c00e5ed1532020-03-01T00:00:00Zhttp://dostmirkult.ru/images/2020-1/DOST_2020-19-147-176.pdfhttps://doaj.org/toc/2619-0311https://doaj.org/toc/2712-8512Allegory as a genre of medieval literature is over treated as something fictitious and schematic, replaced later by more vivacious, bright and substantial pictures of the reality. However, when examining allegory not only as an artistic method but also as a way to percept and shape reality, we can see that the reality of the allegory is fairly objective, and its content goes far beyond simple didacticism. Allegory links everyday human existence with Biblical events, thus becoming a way to immerse the reader emotionally into what is happening here and now as into the Biblical story incessantly unrolling itself, where everyone can proceed from “the son of Adam” to “the son of God”. An allegoric story pretends not only the reader’s reaction to the pictures shown to him but also his personal involvement and interest in things that are not (both for him and for the author) made up for illustrating some abstract maxims; they are real, never receding to past, and they must be taken very seriously indeed. The Vision of Piers Plowman by William Langland, with its complicated plot and a vast amount of characters, involves the narrator and the reader after him into a world where past and present, material and spiritual unite – and even if that world is attainable only while dreaming, it always exists nearby.Valentina S. SergeevaRussian Academy of Sciences. A.M. Gorky Institute of World Literaturearticleallegoryvisionlanglandmedieval literatureenglish literatureSlavic languages. Baltic languages. Albanian languagesPG1-9665ENRUДостоевский и мировая культура: Филологический журнал, Iss 1, Pp 146-175 (2020)
institution	DOAJ
collection	DOAJ
language	EN RU
topic	allegory vision langland medieval literature english literature Slavic languages. Baltic languages. Albanian languages PG1-9665
spellingShingle	allegory vision langland medieval literature english literature Slavic languages. Baltic languages. Albanian languages PG1-9665 Valentina S. Sergeeva The Space of the Medieval Allegory: William Langland’s Vision of Piers Plowman
description	Allegory as a genre of medieval literature is over treated as something fictitious and schematic, replaced later by more vivacious, bright and substantial pictures of the reality. However, when examining allegory not only as an artistic method but also as a way to percept and shape reality, we can see that the reality of the allegory is fairly objective, and its content goes far beyond simple didacticism. Allegory links everyday human existence with Biblical events, thus becoming a way to immerse the reader emotionally into what is happening here and now as into the Biblical story incessantly unrolling itself, where everyone can proceed from “the son of Adam” to “the son of God”. An allegoric story pretends not only the reader’s reaction to the pictures shown to him but also his personal involvement and interest in things that are not (both for him and for the author) made up for illustrating some abstract maxims; they are real, never receding to past, and they must be taken very seriously indeed. The Vision of Piers Plowman by William Langland, with its complicated plot and a vast amount of characters, involves the narrator and the reader after him into a world where past and present, material and spiritual unite – and even if that world is attainable only while dreaming, it always exists nearby.
format	article
author	Valentina S. Sergeeva
author_facet	Valentina S. Sergeeva
author_sort	Valentina S. Sergeeva
title	The Space of the Medieval Allegory: William Langland’s Vision of Piers Plowman
title_short	The Space of the Medieval Allegory: William Langland’s Vision of Piers Plowman
title_full	The Space of the Medieval Allegory: William Langland’s Vision of Piers Plowman
title_fullStr	The Space of the Medieval Allegory: William Langland’s Vision of Piers Plowman
title_full_unstemmed	The Space of the Medieval Allegory: William Langland’s Vision of Piers Plowman
title_sort	space of the medieval allegory: william langland’s vision of piers plowman
publisher	Russian Academy of Sciences. A.M. Gorky Institute of World Literature
publishDate	2020
url	https://doaj.org/article/b776367f5aa247e99e7629c00e5ed153
work_keys_str_mv	AT valentinassergeeva thespaceofthemedievalallegorywilliamlanglandsvisionofpiersplowman AT valentinassergeeva spaceofthemedievalallegorywilliamlanglandsvisionofpiersplowman
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The Space of the Medieval Allegory: William Langland’s Vision of Piers Plowman

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