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CHLOE BEIHEFTE ZUM DAPHNIS Herausgegeben von Barbara Becker-Cantarino - Martin Bircher - Konrad Gajek Klaus Garber - Ferdinand van Ingen - Knut Kiesant Wilhelm Kühlmann - Eberhard Mannack - Alberto Martino Hans-Gert Roloff - Blake Lee Spahr - Jean-Marie Valentin Helen Watanabe-0'Kelly BAND 29 Amsterdam - Atlanta, GA 1999 Tristan und Isolt im Spätmittelalter Vorträge eines interdisziplinären Symposiums vom 3. bis 8. Juni 1996 an der Justus-Liebig-Universität Gießen Herausgegeben von Xenja von Ertzdorff unter redaktioneller Mitarbeit von Rudolf Schulz INHALT Vorwort 7 1 Grußwort des Präsidenten der Justus-Liebig-Universität Gießen, Prof. Dr. Heinz Bauer 9 2 Norbert Werner: Tristan-Darstellungen in der Kunst des Mittelalters 13 3 Jochem Küppers: Zaubertränke, Liebe und Tod in der griechischen und römischen Literatur 61 4 Angelika Hartmann: Das persische Epos Wis und Ramin 103 5 Rosemarie Lühr: Tristan im Kymrischen 141 6 Xenja von Ertzdorff: Die Liebenden in den Romanen von Tristan und Isolt - Erzählstrukturen und literarische Individualität 169 7 Helmut Busch: Das Leiden an der Liebe in Gottfrieds Roman von Tristan und Isolt 203 8 Knut Usener: Verhinderte Liebschaft. Zur Ovidrezeption bei Gottfried von Straßburg 219 9 Lieselotte E. Saurma-Jeltsch: Der Brüsseler Tristan: Ein mittelalterliches Haus- und Sachbuch 247 10 Klaus Ridder: Liebestod und Selbstmord. Zur Sinnkonstitution im Tristan, im Wilhelm von Orlens und in Partonopier und Meliur 303 11 Rudolf Voß: Die deutschen Tristan-Romane des Spätmittelalters — Variationen eines problematischen Themas 331 12 Ludger Udolph: Der alttschechische Roman von Tristram a halda 355 13 Geraldine Barnes: Tristan in late medieval Norse literature: saga and bailad 373 14 Heinz Bergner: Die mittelenglischen Bearbeitungen des Tristanstoffes in Sir Tristrem und Sir Thomas Malorys Morte Darthur 397 15 Bart Besamusca: Tristan und Isolt in den Niederlanden 413 16 Dietmar Rieger: Tristans Wandlung. Zum altfranzösischen Prosatristan und seinen "auctores" 429 5 17 Marie-Jose Heijkant: Tristan im Kampf mit dem Treulosen Ritter. Abenteuer, Gralssuche und Liebe in dem italienischen Tristano Palatino 453 18 Witold KoSny: Der weißrussische Tristan 473 19 Eliza Maiek: Why was the legend of Tristan and Isolde not translated in old Rus' and in Poland? 501 20 Ulrich Müller: Ein indischer Tristan: Der europäische Mythos von Tristan und Isolde im modernen anglo-indischen Roman: Raja Rao The Serpent and the Rope (1960) 517 21 Helmut Martin: Der traditionelle Roman in China und Japan. Ansätze zu einem Vergleich mit dem Tristanroman Gottfrieds von Straßburg 539 Verzeichnis der Referentinnen und Referenten 557 Register: Verzeichnis der erwähnten Personen und Werke 561 Zusammengestellt von Rudolf Schulz.

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The Reception of the Anglo-Norman Tristan and Ysolt in Medieval England
Master’s Degree in Language Sciences Final Thesis The Reception of the Anglo-Norman Tristan and Ysolt in Medieval England Supervisor Ch. Prof. Massimiliano Bampi Assistant supervisor Ch. Prof. Marina Buzzoni Graduand Elisa Tubiana Matriculation number 854220 Academic year 2019/20 Table of contents Acknowledgments………………………………………………………………. i List of Abbreviations…………………………………………………………...... iii Introduction……………………………………………………………………… 1 Chapter 1 -The Romance of Tristan and Ysolt. From its Origins to its Reception………………………………………………………………………… 3 1.1 On the Origins of Tristan……………………………………………… 4 1.2 The European reception of Tristan and Iseult………………………… 19 1.3 The Romance and the acquisition of the genre in the insular context… 27 Chapter 2- Tristan and Ysolt by Thomas of Brittany…………………………… 33 2.1 The Manuscript Tradition of Thomas of Brittany’s romance………… 35 2.1.1The Plot…………………………………………………………… 37 2.1.2The Manuscript Descriptions………………………………………. 40 2.2 Author………………………………………………………………… 46 2.3 Date of composition…………………………………………………….. 49 2.4 Language……………………………………………………………… 56 Chapter 3- Sir Tristrem In the context of the Auchinleck Manuscript………… 57 3.1 The Auchinleck Manuscript…………………………………………. 58 3.1.1 Date…………………………………………………………… 61 3.1.2 Provenance…………………………………………………… 62 3.1.3 The Scribes…………………………………………………… 64 3.1.4 Signatures and the first attested owner: Lord Auchinleck……… 66 3.1.5 The content of the Auchinleck manuscript……………………… 68 3.1.6 Sir Tristrem in manuscript context……………………………… 73 3.1.7 The gatherings 42nd, 43rd and 44th…………………………......
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Richard III’s Books: X. The Prose Tristan ANNE F. SUTTON AND LIVIA VISSER-FUCHS Tristan, lover, knight of the Round Table and famous huntsman, was one of the best known heroes of the later middle ages. One story can be cited to prove his popularity. Philip the Good, Duke of Burgundy, had a row with his son,Charles, and galloped off fugiously into the forest. The next morning when he was recovering from his night of exertions his good humour was restored by his friend and Chamberlain, Philippe Pot, who said: Good morning, monseigneur, what is this? Are you King Arthur now or Sir Lancelot? Did you think there would be no Sir Tristrams wandering around who would be a match for you?‘ The Duke was feeling rather the worse for wear, he laughed and agreed that he had had his ‘adventure, but added that despite his sorry state he was still capable of taking up arms if love or honour demanded it. To both Philip and his courtier, ‘Tristram’ was an integral part of the Arthurian stories, he was Lancelot’ 5 equal, a knight errant and one of the best knights in the world. Their ‘Tristram’ was very different from the .original character of Celtic legend. The Celtic hero had become one of the famous triangle, with Queen Isolde and King Mark of Cornwall, as developed by twelfth- ccntury poets, and that creation in its turn underwent considerable alteration at the hands of the authors of the Prose Tristan.2 Most English people still know the love story of Tristan and Isolde in a version deriving from the prose Tristan through the medium of Sir Thomas Malory, Spenser or Tennyson.
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Durham E-Theses
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University of Cambridge Faculty of English Romance Motifs and Ethics in Malory’s ‘Book of Sir Tristram’ Suxue Zhang Magdalene College Supervisor: Dr James Wade This dissertation is submitted for the degree of Doctor of Philosophy, June 2017 Dissertation Title: Romance Motifs and Ethics in Malory’s ‘Book of Sir Tristram’ Name: Suxue Zhang Summary Sir Thomas Malory’s ‘Book of Sir Tristram’, a condensation of the Old French Tristan en prose, has not received the attention it deserves. Previous studies notice the two texts’ differences in characterisation, style, moral emphasis, structural arrangements, and so on, but no study has sufficiently demonstrated the overall strategy and the moral purposes behind Malory’s changes. This thesis offers an evaluation of both texts’ approaches to some ethical questions, including identity, violence, justice, and passion, through a close analysis of their presentation of romance motifs. The comparison draws on traditional treatments of these motifs and reveals that the authors of romance can incorporate stratified perspectives to voice ideological interpretations. Malory’s treatment of the moral discourse in the ‘Tristram’ articulates the chivalric ideal in the characters’ expressions of how they understand identity, honour, courtesy, courage, faithfulness, justice, compassion, and love. This analysis shows how Malory renews the meaning of the romance motifs borrowed from his sources by changing the characters’ response to the ethical problems underlying the archetypal actions. Thus, Malory’s narrative generates experiential edification, as it engages the reader in the active moral evaluation of the events. Declaration of Length This dissertation is the result of my own work, produced exclusively for the degree for which it is submitted.
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This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. “the graciouseste gome that vndir God lyffede”: A Reconsideration of Sir Gawain in the Late Medieval Middle English and Middle Scots Romance Tradition Lauren Jessie Chochinov Doctor of Philosophy The University of Edinburgh 2015 Declaration This is to certify that that the work contained within has been composed by me and is entirely my own work. No part of this thesis has been submitted for any other degree or professional qualification. Signed: Lauren Jessie Chochinov Abstract In Sir Thomas Malory’s Le Morte Darthur, King Arthur’s nephew, Sir Gawain, is presented as a troublesome figure whose vengefulness hastens the collapse of Camelot. This characterization is unsurprising in the light of traditional French depictions of Gawain, but it is distinctly at odds with a rival, Anglo-Scottish tradition that depicts him rather differently as a figure of moderation, wise counsel, and courtesy.
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Adapting Conventions of Courtliness 177
174 Insular Romance themselves.94 In the end most critics see continental romances bal Chapter Five ancing these inner conflicts and affirming the value of their ideals for their audience, but some critics insist on the romances' simulta neous awareness that the opposition between individual and com munity is not fully resolvable and that the lover's desire for resolu tion is thus troubling and isolating.95 Adapting Conventions of These features ally Tristan and Ipomedon to romance tradition but Courtliness are greatly extended and modified in the two insular works. Thomas makes an inescapable contradiction of the latent tension between public and private loyalties, refusing optimistic harmony for a tragic vision of love refined by inner torment. His strained but magisterial union of humanity to absolute love recognizes an op position deeper than the typical interplay of courtly code and ad venturing knight. Hue's treatment of the interdependence of love and chivalry strikes at the motif's heart by reading the plot doubly and by giving the alternate reading a world of its own, a local milieu that engulfs the traditional reading. There is nothing in twelfth- century romance to match Hue's full context of anecdotes and atti tudes enclosing and commenting on the characters' world. Two young men seeking brides illustrate what happens to ideas of Yet Thomas and Hue remain committed to the principle of heroic love and chivalry between the twelfth and the fourteenth centuries. self-determination and to the process of confronting heroes with The first, Arnulf of Guines, pursued a very wealthy widow, Count challenges raised by their own aspirations.
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