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Сest Romanz Fist Crestïens Chrétien De Troyes and the Birth of the French Novel
Natalia M. Dolgorukova СEST ROMANZ FIST CRESTÏENS CHRÉTIEN DE TROYES AND THE BIRTH OF THE FRENCH NOVEL BASIC RESEARCH PROGRAM WORKING PAPERS SERIES: LITERARY STUDIES WP BRP 24/LS/2017 This Working Paper is an output of a research project implemented at the National Research University Higher School of Economics (HSE). Any opinions or claims contained in this Working Paper do not necessarily reflect the views of HSE Natalia M. Dolgorukova1 СEST ROMANZ FIST CRESTÏENS CHRÉTIEN DE TROYES AND THE BIRTH OF THE FRENCH NOVEL2 The paper addresses three controversial issues in two romances by Chrétien de Troyes - Yvain, or the Knight with the Lion and Lancelot, or the Knight of the Cart. Both romances were written around 1176-1180 and because of their narrative continuity and complementarity could be considered as a diptych. First, we examine the evolution of Chretien’s conception of love, “mysteriously” changing from his first romances to Lancelot; then we enter into the debate between celtisants and their critics about the Celtic influence in Chretien and consider Celtic sources of the two romances; we conclude the article, tracing out the fairy tale paradigm in both romances, which helps us reveal new meanings of the cart and the lion, operating as magic agents in the romances. Keywords: Chrétien de Troyes, “Yvain, or the Knight with the Lion”, “Lancelot, or the Knight of the Cart”, fin’amors, Breton Cycle, Celtic material, troubadours, trouvères, V. Propp, Mabinogion, parody Jel: Z 1 National Research University Higher School of Economics. Faculty of Humanities, School of Philology. Senior Lecturer. E-mail: [email protected]. -
Archivi Di Studi Indo-Mediterranei X(2020) Issn 2279-8803
ARCHIVI DI STUDI INDO-MEDITERRANEI X(2020) http://archivindomed.altervista.org/ ISSN 2279-8803 Der Lanzelet des Ulrich von Zatzikhoven im Kontext der zeitgenössischen Artusromane des 13. Jahrhunderts Danielle BUSCHINGER Traditionell gliedert man die Epik des deutschen Mittelalters in (1) „frühhöfische Epik“ (1170-1190), deren Hauptvertreter der Straßburger Alexander, Eilharts von Oberg Tristrant, Graf Rudolf, Heinrichs von Veldeke Eneasroman sind, (2) „hochhöfische Epik“ (1170-1210), mit Hartmann von Aue (Erec, Der Arme Heinrich, Gregorius, Iwein), Gottfried von Straßburg (Tristan und Isolde), Wolfram von Eschenbach (Parzival, Titurel, Willehalm), (3) „späthöfische Epik“ (1210-1300), unter deren Vertretern ich Wigalois des Wirnt von Gravenberg, die Fortsetzungen von Gottfrieds Tristanroman, die Krône des Heinrich von dem Türlin, Rudolf von Ems, den Jüngeren Titurel des Albrecht, der sich die Maske des berühmten Wolfram angelegt hat, Konrad von Würzburg, den Stricker und den Pleier aufzählen möchte, sowie Lanzelet des Ulrich von Zatzikhoven. Während die erstgenannten zum großen Teil und die zweiterwähnten Dichter ausschließlich auf französische Texte zurückgriffen, die sie ins Deutsche übertrugen bzw. adaptierten, knüpften die meisten deutschen Dichter der dritten Generation an Dichtern der ersten oder zweiten Generation an. Aus diesem Grund hat man zuweilen behauptet, es seien Epigonen. Eine 1 Ausnahme bildet jedoch Heinrich von dem Türlin, der direkt Chrétien de Troyes benutzte. Um das schwierige Problem des Epigonentums und des Plagiats, -
Introduction 1
NOTES Introduction 1 . Siân Echard, Arthurian Narrative in the Latin Tradition , Cambridge Studies in Medieval Literature 36 (Cambridge: Cambridge University Press, 1998 ), p. 14; Helen Cooper, The English Romance in Time: Transforming Motifs from Geoffrey of Monmouth to the Death of Shakespeare (Oxford: Oxford University Press, 2004 ), pp. 26–27; Anne F. Sutton and Livia Visser-Fuchs, “The Dark Dragon of the Normans: A Creation of Geoffrey of Monmouth, Stephen of Rouen, and Merlin Silvester,” Quondam et Futurus: A Journal of Arthurian Interpretations 2.2 ( 1992 ): 2 [1–19]. 2 . Julia Briggs discusses the Vortiger and Uther Pendragon plays per- formed by Philip Henslowe’s company as well as William Rowley’s The Birth of Merlin and Thomas Middleton’s Hengist , “New Times and Old Stories: Middleton’s Hengist ,” Literary Appropriations of the Anglo-Saxons from the Thirteenth to the Twentieth Century , ed. Donald Scragg and Carole Weinberg, Cambridge Studies in Anglo-Saxon England 29 (Cambridge: Cambridge University Press, 2000 ), pp. 108–9 [107–21]. 3 . For evidence supporting a late 1138 date for Geoffrey’s HRB , see Wright, introduction to HRB Bern , p. xvi [ix-lix] and John Gillingham, “The Context and Purposes of Geoffrey of Monmouth’s History of the Kings of Britain ,” Anglo-Norman Studies 13 (1991 ): 100 n5 [99–118]. 4 . Clarke, introduction to VM , p. vii [vii-50]; Echard, Arthurian Narrative , p. 218. 5 . Lee Patterson, Negotiating the Past: The Historical Understanding of Medieval Literature (Madison, WI: The University of Wisconsin Press, 1987 ), pp. 160, 201, 170, and 187; Virgil, Aeneid in Eclogues, Georgics, Aeneid I-VI , trans. -
When a Knight Meets a Dragon Maiden: Human Identity and the Monstrous Animal Other
When a Knight meets a Dragon Maiden: Human Identity and the Monstrous Animal Other (Detail of ‘Mélusine in the Bath’, illustration to Thüring von Ringoltingen’s Mélusine, 14771) Research Master Thesis Name: Lydia Zeldenrust Student Number: 3440346 Date: 11 July 2011 Supervisor: dr. Katell Lavéant Second Reader: dr. Jelle Koopmans 1 Taken from Françoise Clier-Colombani, La Fée Mélusine au Moyen Age: Images, Mythes et Symboles (Paris: Le Léopard d’Or, 1991), front page and image 15 of the appendix. Acknowledgements I would like to thank several people who have all played a different part in my process of writing this Thesis. Firstly, of course, I would like to thank my supervisor, dr. Katell Lavéant, for all she has done. I would like to express my gratitude and admiration for her daring to take on this topic with me, for her useful feedback, and for all the time she has bestowed upon me. I would naturally also like to thank the second reader, dr. Jelle Koopmans, for being so kind to take on the task. Secondly, I wish to thank dr. Bart Besamusca, not only for being my tutor, but also for being a constant source of support over the past two years. I am happy that he is always willing to listen to my passionate, though perhaps at times somewhat strange, plans and ideas. Finally, I would like to thank several people from outside Utrecht University; dr. Karen Olsen, prof. Simon Gaunt, prof. Karen Pratt, and dr. Sarah Salih, for having helped me with several queries into the world of (medieval) academia, and for allowing me to sit in on their wonderful classes. -
Emotion, Space, and Place in Middle High German Courtly Literature Around 1200
LOCATING FEELING: EMOTION, SPACE, AND PLACE IN MIDDLE HIGH GERMAN COURTLY LITERATURE AROUND 1200 Nicolay Ostrau A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Germanic Languages and Literatures. Chapel Hill 2011 Approved by: Kathryn Starkey Jonathan Hess Clayton Koelb Ann Marie Rasmussen Brett Whalen ACKNOWLEDGEMENTS A doctoral dissertation is never the work of one individual. I am forever indebted to the many people who made it possible for me to complete this project. I am most especially grateful to my advisor, Kathryn Starkey, for her extraordinary guidance, her remarkable support and her unlimited patience. I am equally grateful to Ann Marie Rasmussen for her invaluable advice, encouragement, and faith in this project. This project also benefitted greatly from the expertise of the other members of my dissertation committee, Jonathan Hess, Clayton Koelb, and Brett Whalen. Their encouragement and support for this project were invaluable. I am no less grateful to Haiko Wandhoff, Horst and Edith Wenzel, and Janice Koelb who helped me to think about this project in new ways. I am also greatly indebted to my wife, Colleen, and my children, Jonas and Emma, for their sacrifices and unbroken optimism. Last but not least, I am thankful for the support from the faculty, staff, and graduate students of the German programs at UNC-Chapel Hill and Duke University who shared this incredible journey. ii TABLE OF CONTENTS INTRODUCTION Spatial Practices of Emotion in Middle High German Texts (1200) 1. -
Masks of the Dark Goddess in Arthurian Literature: Origin and Evolution of Morgan Le Fay John Christopher Shearer Eastern Kentucky University
Eastern Kentucky University Encompass Online Theses and Dissertations Student Scholarship January 2017 Masks of the Dark Goddess in Arthurian Literature: Origin and Evolution of Morgan le Fay John Christopher Shearer Eastern Kentucky University Follow this and additional works at: https://encompass.eku.edu/etd Part of the Literature in English, British Isles Commons, and the Medieval Studies Commons Recommended Citation Shearer, John Christopher, "Masks of the Dark Goddess in Arthurian Literature: Origin and Evolution of Morgan le Fay" (2017). Online Theses and Dissertations. 466. https://encompass.eku.edu/etd/466 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at Encompass. It has been accepted for inclusion in Online Theses and Dissertations by an authorized administrator of Encompass. For more information, please contact [email protected]. Dean, Graduate School STATEMENT OF PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a Master of Arts degree at Eastern Kentucky University, I agree that the Library shall make it available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of the source is made. Permission for extensive quotation from or reproduction of this thesis may be granted by my major professor, or in [his/her] absence, by the Head of Interlibrary Services when, in the opinion of either, the proposed use of the material is for scholarly purposes. Any copying or use of the material in this thesis for financial gain shall not be allowed without my written permission. -
The Sources of Wigamur and the German Reception of the Fair Unknown Tradition
The Sources of Wigamur and the German Reception of the Fair Unknown Tradition Neil Thomas University of Durham The anonymous Wigamur' falls into that category of 'post-classical' Arthurian romances which has been largely ignored by scholars interested in the early works of the Bliilezeit, namely. Hartmann's Eree and Iwein and Wolfram's Parzival. For more than a century scholarly responses to the work have remained consistent in their tone of faint praise. Gregor Sarrazin took the work to be a debased kind of Arthurian romance which was, nevertheless, somewhat better than other examples of the genre: An poetischem Werth abeT stehl unser Gedicht dUTch seine naive, treuherzige. wenn 3uch unbeholfene Darstellung gewiss immer noch hoher als die faden Romane des Pleiers.2 More recently David Siamires stated: No one in his right mind would claim that Wigamur is a work of commanding literary significance. but after three readings of it I cannot feel it is as worthl ess as most writers on the subject have thought] The same critic suggests that a substantial reason for the poem 's low reputation may lie in its unfortunate manuscript tradition. The main WolfenbUttel manuscript teems with mistranscriptions and scribal omissions. Meanwhile the first editor of the romance did not have at hi s disposal the two further sets of Wigamur fragments which were discovered in the later nineteenth century4 and which, in some cases, throw light on the corrupt, main manuscript. 1n her new edition Danielle Buschinger prints the Salzburg and Munich manuscripts side 98 Neil Thomas by side with the WolfenbUttel one. -
El Rey Arturo, La Reina Doña Ginebra Y Lanzarote Del Lago, Desmenuzados
2 El rey Arturo, la reina doña Ginebra y Lanzarote del Lago, desmenuzados Manuel Palazón Blasco 3 4 5 6 Índice El rey Arturo, la reina doña Ginebra y Lanzarote del Lago, desmenuzados Preambular, 11 . I. Historia general de las historias primeras (y segundas) que contaron a Arturo (y a Ginebra, mi señora) (y a Lanzarote del Lago, su amigo), 15 . 1. Céltica, 17 . -- 1. 1. Prólogo, 17 . -- 1. 2. Arturos que contaron en Irlanda, 19 . -- 1. 3. Armes Prydein , 24 . -- 1. 4. Gwawrddur y Arthur, 25 . -- 1. 5. En la batalla de Llongborth, 29 . -- 1. 6. Profetas de Arturo, 30 . -- 1. 7. Arturo, “el Bendito”, 31 . -- 1. 8. Importancia de los hijos de Uthr Pandragon, 32 . -- 1. 9. de tres en tres, 33 . -- 1. 10. Los Mabinogion , 38 . 2. Mester de clerecía, 49 . -- 2. 1. Prólogo, 49 . -- 2. 2. Gildas no dice, 50 . -- 2. 3. Nenio sí dijo, 54 . -- 2. 4. Añales de Cambria , 58 . -- 2. 5. Desde Galfrido de Monemuta, 59 . -- 2. 6. Brutos , 75 . -- 2. 7. Guillermo de Malmesbury, 81 . -- 2. 8. Según Giraldo de Cambria, 82 . -- 2. 9. Arturo en las Vidas de santos , 86 . 3. María de Francia. El lai de Lanval , 91 . 4. Cristiano de Troya, Romances , 97 . -- 4. 1. Introducción, 97 . -- Los cuatro romances , 103 . 5. La Materia de Bretaña , en Alemania, 133 . -- 5. 1. Introducción, 133 . -- 5. 2. Arturo y Ginebra, en el Parzival de Wolfram von Eschenbach, 134 . -- 5. 3. Cerca del Lanzelet de Ulrich von Zatzikhoven, 138 . -- 5. 4. Según Heinrich von dem Türlin, 166 . 6. Ciclo de la Vulgata , 171 . -
When a Knight Meets a Dragon Maiden: Human Identity and the Monstrous Animal Other
When a Knight meets a Dragon Maiden: Human Identity and the Monstrous Animal Other Lydia Zeldenrust July 2011 (Detail of ‘Mélusine in the Bath’, illustration to Thüring von Ringoltingen’s Mélusine, 14771) 1 Taken from Françoise Clier-Colombani, La Fée Mélusine au Moyen Age: Images, Mythes et Symboles (Paris: Le Léopard d’Or, 1991), front page and image 15 of the appendix. Part 1: Introduction, Method, and Sources 1- Of Monsters and Dragon Maidens: An Introduction 1.1 Introduction The amount of research into the field of medieval monsters has been growing within the past few decades, but the monster has not always been accepted as a worthwhile topic of serious study. Although Prof. Tolkien made his famous appeal for the centrality of the monsters in Beowulf as early as 19362, it still took several decades before other scholars decided to undertake any serious studies of monsters. Incidentally, by choosing the word ‘serious’ I mean to refer to a type of study that does not brush aside all medieval monsters and label them as simply ornamental or the result of some strange joke. Nor does a ‘serious’ study view the medieval monster as some kind of unfortunate accident or a silly misinterpretation of strange phenomenon occurring in nature3. These interpretations of the medieval monster lack any kind of examination of, for instance, the psychological need of the medieval mind to create such monsters, and they certainly downplay the medieval imagination that allows these monsters space to roam within its world. No, a serious study of the medieval monster takes its central topic seriously and realises that the monster has meaning and that the medieval monster in particular is to be treasured and understood. -
6 X 10.5 Long Title.P65
Cambridge University Press 0521553423 - The Cambridge Companion to Medieval Romance Edited by Roberta L. Krueger Frontmatter More information This companion presents fifteen original and engaging essays by leading scholars on one of the most influential genres of Western Literature. Chapters describe the origins of early verse romance in twelfth-century French and Anglo-Norman courts and analyze the evolution of verse and prose romance in France, Germany, England, Italy and Spain throughout the Middle Ages. The volume introduces a rich array of traditions and texts and offers fresh perspectives on the manuscript context of romance, the relationship of romance to other genres, popular romance in urban contexts, romance as mirror of domestic and social tensions, and the representation of courtly love, chivalry,“other” worlds and gender roles. Together the essays demonstrate that European romances not only helped to promulgate the ideals of elite societies in formation, but also held those values up for questioning. An introduction, a chronology and a bibliography of texts and translations com- plete this informative overview. © Cambridge University Press www.cambridge.org Cambridge University Press 0521553423 - The Cambridge Companion to Medieval Romance Edited by Roberta L. Krueger Frontmatter More information CAMBRIDGE COMPANIONS TO CULTURE The Cambridge Companion to Modern The Cambridge Companion to Modern German Culture Spanish Culture edited by Eva Kolinsky and Wilfried van der edited by David T. Gies Will The Cambridge Companion to Modern Russian Culture edited by Nicholas Rzhevsky CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Greek Tragedy The Cambridge Companion to Edith Wharton edited by P. E. Easterling edited by Millicent Bell The Cambridge Companion to Virgil The Cambridge Companion to American Realism edited by Charles Martindale and Naturalism The Cambridge Companion to Old English edited by Donald Pizer Literature The Cambridge Companion to Mark Twain edited by Malcolm Godden and Michael edited by Forrest G. -
Lanzelet" Fragment
The Houghton Library "Lanzelet" fragment The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Palmer, Nigel F. 2011. The Houghton Library "Lanzelet" fragment. Harvard Library Bulletin 21 (1-2): 53-72. Citable link https://nrs.harvard.edu/URN-3:HUL.INSTREPOS:37363335 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Te Houghton Library Lanzelet Fragment Nigel F. Palmer t has become a commonplace of literary criticism over the last forty years that texts change with time. Tey take root, grow and evolve, establish new connections. ITey respond to new patterns of circulation and distribution, they engage with diferent media (such as their illustrations) and with the new and constantly changing audiences for whom they were copied or who were the recipients of earlier copies. Te Middle High German Lanzelet romance, of which MS Ger 80 (see fgure 1) in Houghton Library represents a signifcant fragment, a pair of leaves from the frst half of the fourteenth century, is a witness to this process.1 At the time when the poem was frst composed in couplet verse on the basis of an unknown French model by a certain Ulrich von Zatzikhoven, some time in the years afer 1193/94, an “Arthurian romance” did not mean what it did later or what it does to us today. -
The Legend of Sir Lancelot Du Lac
The Legend Of Sir Lancelot Du Lac By Jessie L. Weston THE LEGEND OF SIR LANCELOT DU LAC CHAPTER I INTRODUCTORY To the great majority of English readers, those who are familiar with the Arthurian legend through the pages of Malory and Tennyson, the name which occurs most readily to their minds in connection with the court and Table of King Arthur is that of Lancelot du Lac, at once the most gallant servant of the king, and the secret lover of the queen. To many the story of Lancelot and Guinevere is the most famous of all stories of unlawful love. True, of late years the popularity of Wagner's music has made their ears, at least, familiar with the names of Tristan and Iseult. Still, that Tristan and Iseult were ever as famous as Lancelot and Guinevere, few outside the ranks of professed students of mediæval literature would believe; still fewer admit that the loves of Arthur's queen and Arthur's knight were suggested by, if not imitated from, the older, more poetic, and infinitely more convincing, Celtic love-tale; that Lancelot, as Arthur's knight and Guinevere's lover, is a comparatively late addition to the Arthurian legend. Yet so it is. I doubt if any scholar of standing would now argue that Lancelot and his relation to the queen formed an integral portion of the early tradition; if any, conversant with the literature of the cycle, would reckon Lancelot among the original band of heroes who gathered round the British king. In the introduction to my studies on the Gawain legend, I remarked that, if we desired to arrive at an elucidation of the Arthurian problem as a whole, we must first begin with the elucidation of its component parts—we must severally disentangle the legends connected with the leading knights of the cycle before we can hope to understand the growth and development of that cycle.