New Methodologies in Prosody by Christopher Leo Hench A

Total Page:16

File Type:pdf, Size:1020Kb

New Methodologies in Prosody by Christopher Leo Hench A Resonances in Middle High German: New Methodologies in Prosody by Christopher Leo Hench A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German and in Medieval Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Niklaus Largier, Chair Professor David Bamman Professor Frank Bezner Professor Anton Kaes Fall 2017 Resonances in Middle High German: New Methodologies in Prosody Copyright 2017 by Christopher Leo Hench 1 Abstract Resonances in Middle High German: New Methodologies in Prosody by Christopher Leo Hench Doctor of Philosophy in German and in Medieval Studies University of California, Berkeley Professor Niklaus Largier, Chair For years, scholars of medieval German have grappled with how to analyze formal charac- teristics of the lyric and epic poetry while taking into consideration performance, musicality, mouvance, linguistic variation, and aggressive editing practices. The scholarship has jus- tifiably resorted to restricted explorations of specific texts or poets, or heavily criticized region-specific descriptions with several caveats. The many challenges this multifaceted po- etry presents has also obscured one of its most central features—–the medieval voice. With the little evidence we have often being ambiguous or contradictory, how are we to understand the role of the medieval voice in the German corpus as a whole? This project seeks to shed light on this forgotten aspect by taking advantage of computational methods to demonstrate relative formal and thematic relationships based on sound and voice. In doing so, it presents several new prosodic analytical methods. The first chapter of this project underlines the importance of sound and voice to medieval performance and composition. It additionally justifies the syllable as the foundation ofthe novel formal methods presented in the following chapters. Chapter two presents a new syllabification algorithm that combines two linguistic principles: the Sonority Sequencing Principle and the Legality Principle. This algorithm is then customized and computationally implemented to perform accurately on medieval German across dialects and editing practices. Chapter three employs this syllabification algorithm to characterize different phonological soundscapes in reference to theme and voice using a modest corpus of only medieval German lyric poetry. While chapter three intends to quantify the vocal affect of a soundscape, chapter four aims to account for the sequencing of these soundscapes within the larger text and corpus. Chapter three therefore lays the foundation for a structural model of medieval German form. Finally, chapter five reduces the corpus once again to a very small subsetof medieval German Vierheber (epic poetry with four stresses per line). It presents a supervised machine learning model to predict scansion for these texts according to the theory proposed 2 by Andreas Heusler, and draws conclusions from how different poets took advantage of the freedom this structure allowed. In each chapter, I present the aggregate statistics to confirm and supplement our knowl- edge of the medieval German corpus as a whole. Yet more importantly, I return to individ- ual texts in order to demonstrate how these newly discovered formal soundscapes manifest and function within a smaller narrative. This combination of “distant reading” and “close reading” supports my overarching argument that medieval German form and content were demonstrably and quantifiably highly intertwined. In many cases markedly different formal, phonologically-influenced structures were implemented to trigger connections to related texts and formats. This project thus creates a new understanding of intertextual relations in me- dieval German literature. i For my family ii Contents Contents ii List of Figures iv List of Tables vi 1 Voice and Rhythm in the Middle Ages 1 1.1 The Medieval Voice ................................ 2 1.2 Rhythm and Memory ............................... 9 1.3 Music and Rhythmic Poetry in the Middle Ages . 14 1.4 Justifying the Syllable .............................. 23 2 Syllabification and Noisy Data 27 2.1 Onset Maximization and Legality ........................ 28 2.2 Sonority Sequencing Principle .......................... 29 2.3 Syllabification of Middle High German ..................... 30 2.4 Linguistic Normalization ............................. 36 2.5 MHG Corpus for Subsequent Analysis ..................... 42 3 Soundscapes 45 3.1 Close Reading Soundscapes ........................... 46 3.2 Formal Debates .................................. 53 3.3 Distant Reading Soundscapes .......................... 59 4 A MHG Text Morphology 76 4.1 Soundscape Patterning within MHG Verse ................... 78 4.2 Form and Content ................................ 106 5 Meter and Emphasis 117 5.1 From Quantity to Quality ............................ 119 5.2 The Middle High German Vierheber . 123 5.3 Previous Computational Approaches to Meter . 126 5.4 Data ........................................ 129 iii 5.5 Workflow ..................................... 130 5.6 Models and Features ............................... 133 5.7 Results ....................................... 134 5.8 Errors and Challenges .............................. 137 5.9 Characterizing the Middle High German Vierheber . 145 5.10 Comparison to sound patterning method . 158 5.11 MHG Scansion GUI Software for General Use . 160 6 Conclusion and Further Work 162 6.1 Sensory Perception ................................ 162 6.2 Digital Humanities and Medieval Studies . 163 6.3 Interdisciplinary Work .............................. 164 6.4 Future Work .................................... 164 Bibliography 166 A LegaliPy 178 B SonoriPy 183 C SyllabiPy MHG 187 D Lyric Texts in Chapter 3 196 E Verse Texts in Chapter 4 200 iv List of Figures 2.1 Flow chart for MHG syllabification. ......................... 31 3.1 Distribution of soundscapes in the MHDBDB lyric corpus . 64 3.2 Lemmatized pronouns by soundscape grouping, stanza divisions . 65 3.3 Lemmatized articles by soundscape grouping, stanza divisions . 66 3.4 Lemmatized pronouns by soundscape grouping, stanza divisions, without NEI, FR3, MRA, MVL, WVV ............................... 68 3.5 Lemmatized articles by soundscape grouping, stanza divisions, without NEI, FR3, MRA, MVL, WVV .................................. 68 3.6 Lemmatized pronouns by soundscape grouping, stanza divisions, one held out . 69 3.7 Lemmatized articles by soundscape grouping, stanza divisions, one held out . 69 3.8 Lemmatized pronouns by soundscape grouping, stanza divisions, for Walther von der Vogelweide .................................... 70 3.9 Lemmatized articles by soundscape grouping, stanza divisions, for Walther von der Vogelweide .................................... 70 3.10 Lemmatized Leitworte by soundscape grouping, stanza divisions . 71 4.1 Textual network based on formal features ..................... 88 4.2 Connections for Das Annolied ............................ 89 4.3 Connections for Der von Kürenberg ......................... 91 4.4 Connections for Dietmar von Eist .......................... 93 4.5 Connections for Reinmar der Alte .......................... 94 4.6 Connections for Virginal ............................... 95 4.7 Connections for Das Eckenlied ............................ 95 4.8 Connections for Frauenlob’s Leich .......................... 97 4.9 Connections for Walther von der Vogelweide .................... 98 4.10 Connections for Konrad’s Engelhard ......................... 99 4.11 Connections for Ulrich von Eschenbach’s Alexander . 100 4.12 Connections for Thomasîn von Ziclaere’s Der Welsche Gast . 102 4.13 Connections for Ulrich von Liechtenstein’s Frauendienst . 103 4.14 Connections for Mönch von Salzburg . 104 4.15 Connections for Heinrich Wittenwiler’s Der Ring . 105 v 5.1 Flow chart for MHG scansion. ............................ 131 5.2 Tagging accuracy with added input. 135 5.3 Automatische Mittelhochdeutsche Skandierung software . 161 5.4 Automatische Mittelhochdeutsche Skandierung output . 161 vi List of Tables 2.1 Comparison of diplomatic transcriptions and normalized editions in manuscript C, weighted by syllable count in stanza ....................... 41 3.1 Summary statistics for soundscape stanza analysis . 60 3.2 Variance in texts’ soundscapes ............................ 61 3.3 Counts of stanzas per soundscape bucket ...................... 63 3.4 Summary statistics for soundscape stanza analysis, Walther von der Vogelweide 67 4.1 Word frequency for the MHG Parzival ....................... 82 4.2 Verse sequence frequency ............................... 87 4.3 Top five tfidf values for Das Annolied ........................ 90 4.4 Top five tfidf values for Der von Kürenberg .................... 91 4.5 Top five tfidf values for Das Nibelungenlied (B/C, Bartsch/deBoor) . 92 4.6 Five most similar texts to Nibelungenlied B/C, Bartsch/deBoor . 92 4.7 Top five tfidf values for Dietmar von Eist ...................... 93 4.8 Top five tfidf values for Reinmar der Alte ..................... 94 4.9 Top five tfidf values for Frauenlob’s Leich ..................... 97 4.10 Top five tfidf values for Konrad’s Engelhard . 100 4.11 Top five tfidf values for Ulrich von Eschenbach’s Alexander . 101 4.12 Top five tfidf values for Thomasîn von Ziclaere’s Der Welsche Gast . 101 4.13 Top five tfidf values for Ulrich von Liechtenstein’s Frauendienst . 101 4.14 Top five
Recommended publications
  • Tom Jennings
    12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd.
    [Show full text]
  • ENG 350 Summer12
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
    [Show full text]
  • James Brown Is Alive!
    James Brown Is Alive! Matt Stauffer [=\ [=\ [=\ WRITER’S COMMENT: On the first day of class Seth asked us what kind of music we like. I’ve always been a huge James Brown fan (anyone who can list what he had for dinner and call it a song is all right by me). That he had recently died helped me decide that I would find some way to write about him. But explaining his importance to poetry and orality was difficult. It was a case of knowing James Brown is an important figure, but not knowing how to explain it. The solution was simply to listen to music, and hear James Brown’s influence, and hear what his influences were. People like Cab Calloway, Ella Fitzgerald, Wilson Pickett, Heavy D and a bunch of others came up, and from there it was just a matter of searching out the right information to help connect those dots. Also, I’m a big fan of the word “eschew.” —Matt Stauffer INSTRUCTOR’S COMMENT: My most immediate reaction to Matt Stauffer’s work in this essay was admiration for his ability to bridge disciplines, bringing together African American history, musicology, literary history, and close reading. As his instructor for English 4, I can see the way he integrates his reading in sound poetry and the theories of Walter Ong and Roland Barthes with his long-standing interest in funk, soul and hip-hop, the truly popular poetries of our era since the 1960s. His willingness to take seriously the ‘get back’-s and ‘hit me’-s of James Brown—sounds we usually hear but do not listen to—indeed enlivens our experience of the Godfather of Soul.
    [Show full text]
  • Handschrift B
    WW 1/2004 Gerhardt, Kriemhilds Ende 7 Kriemhilds Ende in der ,NibeIungenlied'-Handschrift b Von Christoph Gerhardt I. In der ehemaligen Hundeshagenschen Berliner ,Nibelungenlied'-Handschrift (b) aus Ostschwaben (Augsburg), um 1436 bis 1442,' finden sich zwei Interpolationen. Die eine von ihnen hat in jüngster Zeit einige Aufmerksamkeit auf sich gezogen im Zusam­ menhang mit der vor kurzem erstmals vollständig veröffentlichten Darmstädter ,Nibe- lungenlied'-Handschrift (n).2 Den Inhalt der 23 Strophen analysiert Göhler ausführlich und zeigt, dass die kurz vor dem endgültigen Burgundenuntergang spielende Szene z.T. bereits Gesagtes variiert, neue Akzente setzt, aber auch ganz neue erzählerische Ele­ mente bringt, also eine eigenständige Erzählsequenz darstellt. Um die andere Erweite­ rung ist es vergleichsweise in letzter Zeit ziemlich still geblieben; sie betrifft Kriemhilds Ende.3 Zunächst sei diese ,Nibelungenlied'-Interpolation besprochen, danach soll sie neben weitere vergleichbare Episoden gestellt werden; abschließend will ich eine These über die Herkunft des Zusatzes aufstellen und aus ihr einige allgemeine Bemerkungen ablei­ ten. 1 S. Bibliographie zum Nibelungenlied und zur Klage v. Willy Krogmann/Ulrich Pretzel, 4. stark erweiterte Aufl. unter redaktioneller Mitarbeit v. Herta Haas/Wolfgang Bachofer (Bibliographien z. dt. Lit. d. Mittelalters 1), Berlin 1966, S. 18f. Zur Problematik der Datierung s. Theodor Abeling, Das Nibelungenlied und seine Literatur. Eine Bibliographie und vier Abhandlungen (Teutonia 7), Leipzig 1907, S. 182. 2 S. Eine spätmittelalterliche Fassung des Nibelungenliedes. Die Handschrift 4257 der Hessischen Landes- und Hochschulbibliothek Darmstadt, hrsg. und eingeleitet von Peter Göhler (Philologica Germanica 21), Wien 1999, bes. S. 18Ff., 160-163; Das Nibelungenlied nach der Handschrift n. Hs. 4257 der Hessischen Landes- und Hochschulbibliothek, hrsg.
    [Show full text]
  • Fear of a Muslim Planet
    SOUND UNBOUND edited by Paul D. Miller aka DJ Spooky that Subliminal Kid The MIT Press Cambridge, Massachusetts London, England 6 2008 Paul D. Miller All rights reserved. No part of this book may be reproduced in any form by any elec- tronic or mechanical means (including photocopying, recording, or information stor- age and retrieval) without permission in writing from the publisher. For information about special quantity discounts, please email special_sales@mitpress .mit.edu This book was set in Minion and Syntax on 3B2 by Asco Typesetters, Hong Kong, and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Sound unbound / edited by Paul D. Miller. p. cm. Includes bibliographical references and index. ISBN 978-0-262-63363-5 (pbk. : alk. paper) 1. Music—21st century—History and criticism. 2. Music and technology. 3. Popular culture—21st century. I. DJ Spooky That Subliminal Kid. ML197.S694 2008 780.9005—dc22 2007032443 10987654321 Contents Foreword by Cory Doctorow ix 1 An Introduction, or My (Ambiguous) Life with Technology 1 Steve Reich 2 In Through the Out Door: Sampling and the Creative Act 5 Paul D. Miller aka DJ Spooky that Subliminal Kid 3 The Future of Language 21 Saul Williams 4 The Ecstasy of Influence: A Plagiarism Mosaic 25 Jonathan Lethem 5 ‘‘Roots and Wires’’ Remix: Polyrhythmic Tricks and the Black Electronic 53 Erik Davis 6 The Life and Death of Media 73 Bruce Sterling 7 Un-imagining Utopia 83 Dick Hebdige 8 Freaking the Machine: A Discussion about Keith Obadike’s Sexmachines 91 Keith + Mendi Obadike 9 Freeze Frame: Audio, Aesthetics, Sampling, and Contemporary Multimedia 97 Ken Jordan and Paul D.
    [Show full text]
  • 23 Teaching on the Level: the Poetics of Rap Kirsten Bartholomew
    Teaching American Literature: A Journal of Theory and Practice Winter 2008 (2:1) Teaching On the Level: The Poetics of Rap Kirsten Bartholomew Ortega, University of Colorado at Colorado Springs Academic attention to rap music and hip-hop culture has come a long way from Richard Shusterman's 1991 opening claim in a New Literary History article that, "in the view of both the culturally elite and the so-called general public, rap music lurks in the underworld of aesthetic respectability."1 Wonderful intellectual work has been published in the last two decades which defends the cultural value of hip-hop and rap music (e.g., work by Michael Eric Dyson), which provides a history of hip-hop as a movement and developments in rap music (e.g., Tricia Rose's book Black Noise ), and which increasingly interrogates the nuances, problems, and complexities of hip-hop and rap (e.g., Gwendolyn D. Pough's scholarship of and editing of work about women and hip-hop). These kinds of cultural studies projects have been essential to maintaining a productive intellectual discussion about rap, but I have yet to see specific discussions of how to bring rap lyrics into the classroom from a deeply literary perspective. In the last decade that I have been teaching poetry—first at the secondary level and now at the undergraduate level—I have heard repeated affirmation of the belief that rap lyrics are a respectable form of poetry that can be taught in the classroom. Teachers, especially at the secondary level, are paying more attention to the ways that rap lyrics offer a potential to reach students who would otherwise be turned off by poetry, to refute the kind of claim made famous in 1991 by Dana Gioia that poetry is dead, 2 to examine a distinctly African-American form of poetics, and to keep lessons tuned-in to students' popular culture knowledges.
    [Show full text]
  • ENG 350 Summer11
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Mondays and Wednesdays, 6:00-9:00, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our one required textbook, Bradley and DuBois’s Anthology of Rap (Yale University Press) is AVAILABLE AT THE OFF-CAMPUS BOOKSTORE ON SMITH ST. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will also be a Blog with a discussion board and a wide array of links to audio and text resources.
    [Show full text]
  • The Following Is a Comprehensive Listing of All Texts Featured in the Volumes of the Motif Index of German Narrative Literature
    Index of Abbreviations The following is a comprehensive listing of all texts featured in the volumes of the Motif Index of German Narrative Literature. The abbreviated classifications consist of the author’s name – if known –, and the title of the work. Bibliographical details can be found in the introductory pages of volume I. The two- or three-letter code following the work’s name indicates the genre of the work. MdB = Matière de Bretagne (Vol. I and II) MR = Miscellaneous Romances (Vol. III) CdG = Chansons de Geste (Vol. III) OR = Oriental Romances (Vol. III) HE = Heroic Epic (Vol. IV) MN = Maere and Novellas (Vol. IV) RoA = Romances of Antiquity (Vol. V) Abor Abor und das Meerweib MN HalDB Die halbe Decke B MN Adelh Die böse Adelheid MN HalDBC Die halbe Decke C MN Ain Ainune MR Harm Harm der Hund MN AlbJT Albrecht, Jüngerer Titurel MdB HdKK Heinz derKellner, Konni MN AlbTund Alber, Tundalus MN HdTRH Heinrich der Teichner, Die Rosshaut MN Ali Alischanz CdG HeidinA Die Heidin A MN Alm Das Almosen MN HeidinB Die Heidin B MN AppZu Jacob Appet, Der Ritter unter dem Zuber MN HeidinC Die Heidin C MN ArPhy Aristoteles und Phyllis MN HerEA Herzog Ernst A OR AT Alpharts Tod HE HerEB Herzog Ernst B OR AtPro Athis und Prophilias RoA HerED Herzog Ernst D OR Aug Das Auge MN HeroLe Hero und Leander MN AvHMA Albrecht von Halberstadt, Metamorphosen Fragm. A RoA HevFr Der Herr mit den vier Frauen MN AvHMB Albrecht von Halberstadt, Metamorphosen Fragm. B RoA HFHel Hermann Fressant, Der Hellerwertwitz MN AvHMC Albrecht von Halberstadt, Metamorphosen Fragm.
    [Show full text]
  • Abstract One Love: Collective Consciousness in Rap and Poetry
    Abstract One Love: Collective Consciousness in Rap and Poetry of the Hip-Hop Generation by Austin Harold Hart April, 2012 Thesis Director: John Hoppenthaler Major Department: English (Literature and Poetry) This study aims to offer an understanding of hip-hop culture through which three concepts are elucidated: (1) the existence and dimensions of a collective consciousness within rap and poetry of the hip-hop generation (Allison Joseph, A. Van Jordan, Terrance Hayes, Major Jackson, Taylor Mali, and Kevin Coval); (2) a poetics of rap—to parallel the influence seen/suggested among the selected poets; and (3) an analysis of the manner(s) in which the poetry of these more serious, academic artists reflects an influence of hip-hop culture. My thesis suggests that these poets are indeed influenced by the culture in which they grew up, and in their verse, this influence can be seen through linguistic playfulness, sonic density, layered meaning and usage through form and content, and the connection to a larger cultural, collective consciousness fed by specific social bodies. Poetic analysis, as well as studies of vernacular and oral traditions, has allowed me to explore these concepts and theories from a wider spectrum, and with regard to the work of the poets, an original perspective. Providing a deeper understanding of artists, their identities, places, and dreams within their work, this study begins to offer some insight into notions of the ways in which individuals might participate in cultural conservation. One Love: Collective Consciousness
    [Show full text]
  • Goldemar in Der Dietrich-Sage
    DIPL. THEOL. DIRK SONDERMANN König Goldemar in der Dietrichsage (unveröffentlicht, verfasst ca.1999) Der bekannte Märchen- und Sagensammler Ludwig Bechstein (1801-1860) nahm sich der Sagen um den Zwergenkönig Goldemar an. Nachdem „wißbegierige Hausgenossen“ dem Zwergenkönig bzw. „Elben“i (Bechstein) Goldemar Asche und Erbsen streuten, auf denen er ausglitt und fiel, verließ er Burg Hardenstein in (Witten-) Herbede an der Ruhr.ii Weiter heißt es wörtlich: „Da kam der Elbe Goldemar nimmer wieder auf des Hardenbergs Schlösser. Er wandte sich anderswohin und entführte eine Königstochter, die hieß Hertlin. Die Mutter dieser Königstochter starb vor Leid über der Tochter Verlust, letztere aber ward durch den sieghaften Helden Dietrich von Berniii, den alte Lieder feiern, befreit und von geehelicht. Manche sagen, daß dieses Bern, wovon der Held Dietrich den Namen geführt, nicht das Bern in der Schweiz, auch nicht das welsche Bern, Verona, gewesen, sondern das rechte Dietrichs- Bern sei Bonniv gewesen, der älteste Theil dieser Stadt habe auch Verona oder Bern geheißen, und da in dieses rheinische Land und Gefilde so viele Thaten Dietrichs von Bern fallen, von denen in alten Heldenbüchern viel zu lesen, so dürfe wohl etwas Wahres an der Sache und Sage sein. Der Gezwerg Goldemar aber habe, nachdem ihm Dietrich die Beute abgedrungen, die Riesen zu Hülfe gerufen und Berge und Wälder ringsum schrecklich verwüstet. Die Stadt Elberfeld soll ihren Namen von nichts anderm tragen als von den Elbenv, auf deren Felde sie begründet ward.“vi In dieser Sage spricht Bechstein ein weitgehend unbekanntes Thema an: Goldemar und Dietrich von Bern, der Heros der germanischen Heldensage! Goldemar als Romanfigur im Reinfried von Braunschweig Goldemar als Figur der mittelhochdeutschen Heldenepik begegnete den Geistes- wissenschaftlern des 19.
    [Show full text]
  • The Sounds of Liberation: Resistance, Cultural Retention, and Progressive Traditions for Social Justice in African American Music
    THE SOUNDS OF LIBERATION: RESISTANCE, CULTURAL RETENTION, AND PROGRESSIVE TRADITIONS FOR SOCIAL JUSTICE IN AFRICAN AMERICAN MUSIC A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Professional Studies by Luqman Muhammad Abdullah May 2009 © 2009 Luqman Muhammad Abdullah ABSTRACT The cultural production of music in the Black community has traditionally operated as much more than a source of entertainment. In fact, my thesis illustrates how progressive traditions for social justice in Black music have acted as a source of agency and a tool for resistance against oppression. This study also explains how the music of African Americans has served as a primary mechanism for disseminating their cultural legacy. I have selected four Black artists who exhibit the aforementioned principles in their musical production. Bernice Johnson Reagon, John Coltrane, Curtis Mayfield and Gil Scott-Heron comprise the talented cadre of musicians that exemplify the progressive Black musical tradition for social justice in their respective genres of gospel, jazz, soul and spoken word. The methods utilized for my study include a socio-historical account of the origins of Black music, an overview of the artists’ careers, and a lyrical analysis of selected songs created by each of the artists. This study will contribute to the body of literature surrounding the progressive roles, functions and utilities of African American music. BIOGRAPHICAL SKETCH My mother garners the nickname “gypsy” from her siblings due to the fact that she is always moving and relocating to new and different places.
    [Show full text]
  • Matias Corbett Garcez Gil Scott-Heron: a Black Bullet
    MATIAS CORBETT GARCEZ GIL SCOTT-HERON: A BLACK BULLET THROUGH THE HEART OF WHITE AMERICA Florianópolis, 2015 2 3 MATIAS CORBETT GARCEZ GIL SCOTT-HERON: A BLACK BULLET THROUGH THE HEART OF WHITE AMERICA Tese de doutorado apresentada à Banca Examinadora do Programa de Pós-Graduação em Inglês do Centro de Comunicação e Expressão da Universidade Federal de Santa Catarina, como requisito parcial para a obtenção do título de Doutor em Estudos Culturais, linha de pesquisa Poéticas de Resistência, sob a orientação da Professora Doutora Maria Lúcia Milléo Martins. Florianópolis, 2015 Ficha de identificação da obra elaborada pelo autor, através do Programa de Geração Automática da Biblioteca Universitária da UFSC. Garcez, Matias Corbett Gil Scott-Heron: A Black Bullet Through The Heart Of White America / Matias Corbett Garcez ; orientadora, Maria Lúcia Milléo Martins - Florianópolis, SC, 2015. 292 p. Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós Graduação em Literatura. Inclui referências 1. Literatura. 2. Gil Scott-Heron. 3. Poéticas de Resistência . 4. Contra-narrativas . 5. FonoFicção. I. Milléo Martins, Maria Lúcia. II. Universidade Federal de Santa Catarina. Programa de Pós-Graduação em Literatura. III. Título. 6 7 Dedicated to my wife and love, Cristiane, and my son, Ravi. 8 9 ACKNOWLEDGMENTS I would like to thank CNPQ and Projeto de Extensão: Cursos Extracurriculares for the financial support granted throughout my studies. I would also like to thank Professor Maria Lúcia Milléo Martins for accepting me as her advisee, and for all the guidance and support during my research. I would also like to express my gratitude to my family, who gave me a lot of support, love, and motivation.
    [Show full text]