Langland’s Tears: Poetry, Emotion, and Mouvance
Identifieur interne : 000343 ( Main/Exploration ); précédent : 000342; suivant : 000344Langland’s Tears: Poetry, Emotion, and Mouvance
Auteurs : Stephanie TriggSource :
- The Yearbook of Langland Studies [ 0890-2917 ] ; 2012-01.
English descriptors
- Teeft :
- Affective, Affective meditation, Affective piety, Affective politics, Affective response, Alliterative, Alliterative collocation, Alliterative verse, Barbara rosenwein, Bodily gesture, Cambridge university press, Charles darwin, Chaucer, Contribution medieval poetry, Cornell university press, Courtly romance, Deadly sin, Derek pearsall, Different register, Donaldson, Ekman, Elina gertsman, Emotion, Emotional community, Emotional energy, Emotional expression, Emotional history, Emotional response, Emotional term, Fiona somerset, Fluid mouvance, Human feeling, Important part, Intellectual thing, Intriguing question, Lady meed, Langland, Liquid materiality, Literary text, Male character, Mcnamer, Medieval, Medieval compassion, Medieval discourse, Medieval emotion, Medieval literature, Medieval past, Medieval study, Medieval tear, Medieval text, Middle age, Minnesota press, Modern reader, Mouvance, Naughty child, Other hand, Oxford university press, Particular emotion, Paul ekman, Performative authority, Phantasmal past, Pier, Pier plowman, Plowman, Poetic form, Political concern, Reception history, Revolting passion, Richard rolle, Riverside chaucer, Rolle, Same time, Script theory, Secret history, Several incident, Sexual poetics, Somerset, Stephanie, Stephanie trigg, Talbot donaldson, Tear, Third person, Titus andronicus, Trigg, Weeps, Weeps tear, Wepe water, William reddy, Youre tonge.
Abstract
This essay explores several incidents in Piers Plowman where a male character, most often Will himself, weeps tears. Most of these incidents of weeping seem relatively straightforward in comparison with the complexity of Langland’s theological, spiritual, personal and political concerns, but they generate intriguing questions about the expression and interpretation of feeling in medieval literature and its reception history, about the relation between feeling and bodily gesture, and the contribution medieval poetry can make to the history of emotions. Emotional responses also play a role in judgements about the fluid mouvance of the poem’s versions, in the multitude of competing readings.
Url:
DOI: 10.1484/J.YLS.1.103203
Affiliations:
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Le document en format XML
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Most of these incidents of weeping seem relatively straightforward in comparison with the complexity of Langland’s theological, spiritual, personal and political concerns, but they generate intriguing questions about the expression and interpretation of feeling in medieval literature and its reception history, about the relation between feeling and bodily gesture, and the contribution medieval poetry can make to the history of emotions. Emotional responses also play a role in judgements about the fluid mouvance of the poem’s versions, in the multitude of competing readings.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Trigg, Stephanie" sort="Trigg, Stephanie" uniqKey="Trigg S" first="Stephanie" last="Trigg">Stephanie Trigg</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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