DOCSLIB.ORG

Parzival , Nibelungenlied Und Tristan Entsprechend Der Erzählstrategien Dieser Werke

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Parzival , Nibelungenlied Und Tristan Entsprechend Der Erzählstrategien Dieser Werke View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit Die Figur des Kindes in Parzival , Nibelungenlied und Tristan entsprechend der Erzählstrategien dieser Werke Verfasserin Maria Dorfer-Frick angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, im November 2010 Studienkennzahl lt. Studienblatt: A 332 Studienrichtung lt. Studienblatt: Diplomstudium Deutsche Philologie Betreuerin / Betreuer: Ao. Univ.-Prof. Dr. Hermann Reichert Für meinen Sohn Erik, der mir das Wesentliche im Leben gezeigt hat. 2 Danksagung Ich möchte an dieser Stelle die Gelegenheit nutzen, mich bei allen Menschen zu bedanken, die mir diese Arbeit ermöglicht haben. Bei Herrn Professor Dr. Hermann Reichert bedanke ich mich für die Hilfe bei der Themenwahl sowie für die geduldige Betreuung meiner Diplomarbeit. Er hat mir wichtige Denkanstöße und Hinweise gegeben, welche mich bei der Erstellung dieser Arbeit unterstützt haben. Besonderer Dank gebührt meinem Mann Martin für seine Geduld sowie seine Hilfsbereitschaft. Ich möchte mich auch bei meinem Schwager Michael für das Durchsehen meiner Arbeit sowie seine wertvollen Diskussionsbeiträge bedanken, die mir oft wichtige Schreibimpulse gegeben haben. Meiner Großmutter und meiner Großtante Amalia danke ich für ihre Unterstützung während meiner gesamten Studienzeit. Nicht zuletzt möchte ich mich bei meinen Eltern bedanken, die mir mein Studium überhaupt ermöglicht haben. 3 Inhaltsverzeichnis 1 Einführung .................................................................................................................6 2 Das Wort kint in der mittelhochdeutschen Literatur..................................................9 2.1 Altersbestimmung der Figuren.....................................................................11 2.2 Ende der Kindheit ........................................................................................12 2.3 Sinn der Kindheitsdarstellungen ..................................................................13 3 Nibelungenlied .........................................................................................................15 3.1 Die Kindheit Siegfrieds und Kriemhilds......................................................15 3.1.1 Der junge Siegfried ..................................................................................15 3.1.2 Die Prinzessin Kriemhild .........................................................................18 3.2 Giselher ........................................................................................................21 3.3 Kriemhilds Kinder........................................................................................24 3.3.1 Siegfrieds und Kriemhilds Sohn ..............................................................24 3.3.2 Etzels und Kriemhilds Sohn.....................................................................26 3.4 Schlussfolgerung..........................................................................................29 4 Kinderfiguren in Wolframs Parzival .......................................................................30 4.1 Parzival.........................................................................................................30 4.1.1 Vorgeschichte der Eltern..........................................................................32 4.1.2 Geburt des Helden....................................................................................34 4.1.3 Kindheit in Soltane...................................................................................37 4.1.3.1 Parzival als Jäger..................................................................................38 4.1.3.2 Herzeloydes Gotteslehre ......................................................................40 4.1.4 Begegnung mit den Rittern und Auszug aus Soltane...............................43 4.1.4.1 Begegnung mit den Rittern ..................................................................43 4.1.4.2 Herzeloydes Weltlehre.........................................................................48 4.1.4.3 Parzivals Auszug..................................................................................50 4.1.5 Reise zum Artushof..................................................................................51 4.1.5.1 Überquerung des Baches......................................................................52 4.1.5.2 Anwendung der Minnelehre bei Jeschute ............................................52 4.1.5.3 Identitätsfindung Parzivals durch Sigune.............................................54 4.1.5.4 Parzival am Artushof............................................................................55 4.1.5.5 Parzival und die Hofgesellschaft..........................................................55 4.1.5.6 Parzivals Kampf mit Ither ....................................................................58 4.1.6 Gurnemanz’ Lehren .................................................................................61 4.1.7 Trevrizents Lehren ...................................................................................64 4.2 Weitere Kinderfiguren in Wolframs Parzival ..............................................67 4.2.1 Der kindliche Gawan................................................................................67 4.2.2 Feirefiz – Parzivals außergewöhnlicher Halbbruder................................69 4.2.3 Obilot - die kindliche Minnedame ...........................................................70 4.2.4 Parzivals Söhne Loherangrin und Kardeiz...............................................74 4.3 Schlussfolgerung..........................................................................................75 4 5 Die Figur des Kindes in Gottfrieds Tristan und Eilharts Tristrant ..........................79 5.1 Eilharts Tristrant ..........................................................................................79 5.2 Gottfrieds Tristan .........................................................................................80 5.2.1 Die Vorgeschichte von Tristans Eltern ....................................................80 5.2.2 Die Kindheit von Riwalin ........................................................................81 5.3 Tristans Kindheit und Jugend.......................................................................82 5.3.1 Geburt und Kleinkindalter........................................................................83 5.3.2 Erziehung .................................................................................................85 5.3.2.1 Tristans Erziehung ...............................................................................85 5.3.2.2 Tristrants Erziehung.............................................................................90 5.3.3 Der Weg zu Marke...................................................................................92 5.3.4 Tristans Schwertleite................................................................................98 5.4 Schlussfolgerung..........................................................................................99 6 Gemeinsamkeiten und Unterschiede in den Kinderdarstellungen .........................103 6.1 Das schöne Kind ........................................................................................108 6.2 Die Erziehung und Ausbildung der Kinderfiguren ....................................110 6.3 Der magezoge bzw. der Erzieher ...............................................................112 6.4 Gender und Kindheit..................................................................................113 6.5 Die Darstellung von Nebenfiguren im Kindesalter....................................115 7 Mütter und Väter – Stellenwert der Genealogie ....................................................116 8 Schlusswort ............................................................................................................120 9 Bibliographie..........................................................................................................124 9.1 Handbücher, Lexika, Wörterbücher...........................................................124 9.2 Primärliteratur ............................................................................................124 9.3 Sekundärliteratur........................................................................................125 10 Abkürzungsverzeichnis......................................................................................131 A Zusammenfassung..................................................................................................132 B Lebenslauf..............................................................................................................133 5 1 Einführung Der Umgang mit Kindheit zeigt kulturspezifische Eigenheiten und ist zudem ein Indikator für den Aufbau und die Wertvorstellung einer Gesellschaft. Die Betrachtung von Kindheit und Kindern im Mittelalter ist somit eine Möglichkeit, um Teile der Geisteshaltung dieser Epoche zu verstehen. Problematisch ist jedoch, dass die Darstellung der Kindheit selbst von wenig Interesse für die mittelalterlichen Geschichtsschreiber war: Viele Historiker müssen sich folglich mit literarischen Werken beschäftigen, um Kenntnisse über die Kindheit im Mittelalter zu gewinnen. Man muss sich jedoch im Klaren sein, dass literarische Texte die Kindheit aus der Sicht des jeweiligen Dichters darstellen. Diese Darstellung kann beispielsweise idealisiert, besonders
Load more

Recommended publications
  • The Difference the Middle Ages Makes: Color and Race Before the Modern World
    JMEMS31.1-01 Hahn 2/26/01 6:55 PM Page 1 a The Difference the Middle Ages Makes: Color and Race before the Modern World Thomas Hahn University of Rochester Rochester, New York The motives for gathering the present cluster of essays stem, in part, from the session “Race in the Middle Ages” that took place during the Interna- tional Congress on Medieval Studies in Kalamazoo in 1996. The event, sponsored by the Teachers for a Democratic Society, featured Michael Awk- ward, then Professor of English and Director of the Institute for African- American Studies at the University of Michigan, and included a brief response by me.1 Professor Awkward, an Americanist with little professional interest in medieval studies, had nonetheless agreed to address this session on race, presenting the lecture “Going Public: Ruminations on the Black Public Sphere.” This session, in prospect and panic, and in retrospect and reflection, urgently raised the question for me as a medievalist, What’s race got to do with it? What, if anything, does medieval studies have to do with racial discourses? Awkward’s appearance at Kalamazoo, unusual from several perspec- tives, had a double effect, for in providing an immediate, even urgent, perhaps arbitrary forum for discussion, it also pointed up the prevailing lack of interest in race among medievalists. What would he do, what was he doing—the nonmedievalist, the “expert” on race—at a conference that, among those who care, is a byword for dedicated, extensive (and to some degree exclusive) study of all things medieval? Within the identity politics that obtains throughout American society, the position he occupied as a per- son of color defined his relation to his subject and endowed him with exis- tential and political warrants that few at that particular conference might claim.
    [Show full text]
  • Religion and Religious Symbolism in the Tale of the Grail by Three Authors
    Faculty of Arts English and German Philology and Translation & Interpretation COMPARATIVE LITERATURE: RELIGION AND RELIGIOUS SYMBOLISM IN THE TALE OF THE GRAIL BY THREE AUTHORS by ASIER LANCHO DIEGO DEGREE IN ENGLISH STUDIES TUTOR: CRISTINA JARILLOT RODAL JUNE 2017 ABSTRACT: The myth of the Grail has long been recognised as the cornerstone of Arthurian literature. Many studies have been conducted on the subject of Christian symbolism in the major Grail romances. However, the aim of the present paper is to prove that the 15th-century “Tale of the Sangrail”, found in Le Morte d’Arthur, by Thomas Malory, presents a greater degree of Christian coloration than 12th-century Chrétien de Troyes’ Perceval and Wolfram von Eschenbach’s Parzival. In order to evaluate this claim, the origin and function of the main elements at the Grail Ceremony were compared in the first place. Secondly, the main characters’ roles were examined to determine variations concerning religious beliefs and overall character development. The findings demonstrated that the main elements at the Grail Ceremony in Thomas Malory’s “The Tale of the Sangrail” are more closely linked to Christian motifs and that Perceval’s psychological development in the same work conflicts with that of a stereotypical Bildungsroman, in contrast with the previous 12th-century versions of the tale. Keywords: The Tale of the Grail, Grail Ceremony, Holy Grail, Christian symbolism INDEX 1. Introduction .......................................................................................................................................
    [Show full text]
  • {Download PDF} Parzival
    PARZIVAL PDF, EPUB, EBOOK Wolfram von Eschenbach, A. T. Hatto | 448 pages | 20 Nov 1980 | Penguin Books Ltd | 9780140443615 | English | London, United Kingdom bibliotheca Augustana Kundry, who serves the knights—she also serves the evil sorcerer Klingsor—has brought herbs from Arabia, hoping they will heal him. Amfortas, brought in on a litter, is not optimistic. He also explains how Amfortas came to be wounded by Klingsor and how Klingsor managed to seize the spear. A dying swan falls from the sky, and the youth who shot the swan arrives. Gurnemanz scolds the youth, who protests that he did not know it was wrong to shoot the bird. The youth—Parsifal—knows nothing of the world, not even his own origins. Gurnemanz, wondering whether he has found the hoped-for pure and innocent man, brings Parsifal into the castle. Amfortas feels unequal to the task, though it is carried out. Parsifal shows no interest in the proceedings, and an angry Gurnemanz sends him from the hall. Klingsor summons Kundry to his castle, and she reluctantly appears. He declares that she must assist him in defeating an opponent, and he demands that she change herself into an irresistible temptress. In such a form, she had helped Klingsor to best—and gravely wound—Amfortas. When Kundry appears, the other women leave. As Kundry tells Parsifal of his parents, she begins her own attempt at seduction. When she kisses Parsifal, however, she awakens in him not only passion but also knowledge. Klingsor appears and casts the spear at Parsifal. Parsifal catches it in midair and makes the sign of the cross with it.
    [Show full text]
  • The Influence of Ludwig Feuerbach's Philosophy
    1 THE INFLUENCE OF LUDWIG FEUERBACH’S PHILOSOPHY UPON THE LIBRETTO OF RICHARD WAGNER’S MUSIC-DRAMA ‘PARSIFAL’ By Paul Heise Research Consultant – The Richard Wagner Society of Florida [email protected] Home Tel: 727-343-0365 Home Add: 2001 55TH St. South Gulfport, FL 33707 ELABORATION OF A TALK PRESENTED TO THE BOSTON WAGNER SOCIETY ON 5/30/07, AT THE WELLESLEY FREE LIBRARY While it is well known that the atheist German philosopher Ludwig Feuerbach’s influence upon Richard Wagner’s libretto for his music-drama The Ring of The Nibelung is great, it is usually assumed that Feuerbach’s influence upon Wagner’s writings and operas dropped off radically after his 1854 conversion to the pessimist philosophy of Arthur Schopenhauer. For this reason the librettos of Wagner’s other mature music- dramas completed after 1854, namely, Tristan and Isolde, The Mastersingers of Nuremberg, and Parsifal, are widely regarded as expressions of Wagner’s post-1854 Schopenhauerian phase. It is therefore quite surprising to find in key passages from the libretto of Wagner’s last work for the theater, Parsifal, a remarkable dependence on Feuerbachian concepts. This paper will examine that influence closely. A familiarity with the libretto of Parsifal is assumed. This paper has retained all the extracts from Feuerbach’s and Wagner’s writings (and recorded remarks) discussed in my original talk of 5/30/07. However, a number of key extracts which had to be dropped from the talk due to time constraints have been restored, and other extracts added, both to fill in logical gaps in the talk, and also to address certain questions posed by audience members after the talk.
    [Show full text]
  • Power, Courtly Love, and a Lack of Heirs : Guinevere and Medieval Queens Jessica Grady [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2009 Power, Courtly Love, and a Lack of Heirs : Guinevere and Medieval Queens Jessica Grady [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the Other Classics Commons Recommended Citation Grady, Jessica, "Power, Courtly Love, and a Lack of Heirs : Guinevere and Medieval Queens" (2009). Theses, Dissertations and Capstones. Paper 69. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Power, Courtly Love, and a Lack of Heirs: Guinevere and Medieval Queens Thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in History by Jessica Grady Dr. Laura Michele Diener, Ph.D., Committee Chairperson Dr. David Winter, Ph.D. Dr. William Palmer, Ph.D. Marshall University December 2009 ABSTRACT Power, Courtly Love, and a Lack of Heirs: Guinevere and Medieval Queens by Jessica Grady Authors have given Queen Guinevere of the Arthurian stories a wide variety of personalities; she has been varyingly portrayed as seductive, faithful, “fallen,” powerful, powerless, weak-willed, strong-willed, even as an inheritor of a matriarchal tradition. These personalities span eight centuries and are the products of their respective times and authors much more so than of any historical Guinevere. Despite this, however, threads of similarity run throughout many of the portrayals: she had power in some areas and none in others; she was involved in a courtly romance; and she did not produce an heir to the throne.
    [Show full text]
  • The Symbolism of the Holy Grail
    University of Richmond UR Scholarship Repository Honors Theses Student Research 1962 The symbolism of the Holy Grail : a comparative analysis of the Grail in Perceval ou Le Conte del Graal by Chretien de Troyes and Parzival by Wolfram von Eschenbach Karin Elizabeth Nordenhaug Follow this and additional works at: https://scholarship.richmond.edu/honors-theses Part of the English Language and Literature Commons Recommended Citation Nordenhaug, Karin Elizabeth, "The symbolism of the Holy Grail : a comparative analysis of the Grail in Perceval ou Le Conte del Graal by Chretien de Troyes and Parzival by Wolfram von Eschenbach" (1962). Honors Theses. 1077. https://scholarship.richmond.edu/honors-theses/1077 This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. UNIVERSITY OF RICHMOND LIBRARIES ~lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll3 3082 01028 5079 r THE SYMBOLISM OF THE HOLY GRAIL A COMPARATIVE ANALYSIS OF THE GRAIL In PERCEVAL ou LE CONTE del GRAAL by CHRETIEN de TROYES and PARZIVAL by WOLFRAM von ESCHENBACH by Karin Elizabeth Nordenhaug A Thesis prepared for Professor Wright In partial fulfillment of the requirements of the Honors Program And in candidacy for the degree of Bachelor of Arts Westhampton College University of Richmond, Va. May 1962 P R E F A C E If I may venture to make a bold comparison, I have often felt like Sir Perceval while writing this thesis. Like. him, I set out on a quest for the Holy Grail.
    [Show full text]
  • Introduction: to Be a Shapeshifter 1
    NOTES Introduction: To Be a Shapeshifter 1 . Sir Thomas Malory, Malory: Works , ed. Eugene Vinaver (Oxford: Oxford University Press, 1978 ), 716. 2 . Carolyne Larrington, for example, points out that “Enchantresses . sometimes . support the aims of Arthurian chivalry, at other times they can be hostile and petty-minded.” See King Arthur’s Enchantresses: Morgan and Her Sisters in Arthurian Tradition (New York: I. B. Taurus, 2007), 2. While Larrington’s book provides a review of many of Morgan’s literary appearances, my study focuses on close reading, attention to translation issues, and discussion of social concerns. In her review of Larrington’s King Arthur’s Enchantresses: Morgan and Her Sisters in Arthurian Tradition , Elizabeth Archibald laments that “it would have been interesting to hear more about the ways in which Arthurian enchantresses do or do not resemble their Classical precursors, or indeed Celtic ones, in their use of magic and in their challenges to male heroic norms.” See Elizabeth Archibald, “Magic School,” Times Literary Supplement (February 2, 2007), 9. My study answers this cri- tique by reexamining pivotal scenes in critical texts and by dismantling the archetypal approach that Larrington follows. 3 . Norris J. Lacy, ed., The Fortunes of King Arthur (New York: D. S. Brewer, 2005 ), 94–95. 4 . Helaine Newstead, Bran the Blessed in Arthurian Romance (New York: AMS Press, 1966 ), 149. 5 . Elisa Marie Narin, “‘Þat on . Þat oÞer’: Rhetorical Descriptio and Morgan La Fay in Sir Gawain and the Green Knight ,” Pacific Coast Philology 23 (1988): 60–66. Morgan only partly fits the description of a supernatural ‘enemy’ provided by Hilda Ellis Davidson and Anna Chaudri; see n.
    [Show full text]
  • The Story of Parzival the Templar Retold Fzigm Wolfram Von
    T H E S T O R Y O F P ‘A R Z I V A L T H E T E M P L A R R E TOLD F ZI GM WOLFRAM VON nmmfifi BY f ‘ ’ MARY BL A C KWELL f f éf éfii é flfii ILLUS TRATI$353 5 13 ? WILLIAM T H E S T O R Y O F P 'A R Z I V A L T H E T E M P L A R RE TOLD FROM WOLFRAM VON ESCHENBACH BY MARY BL ACKWE L L STE R L ING ILLUS TRATIONS BY WILLIAM ERNEST CHAPMAN N EW Y OR K ° 9 E P DUTTON £9 C OMPA NY 3 1 We s t Tw enty -Third S treet I D E D I CATE THI S B OOK TO TH E ME MOR Y OF MY FATH E R H E NRY S OME RS STE R LING KNI GH T TE MP L A R ‘ P ut onthe whol e armour o f Go d that ye may be abl to w t staninth e vil da a nd a n one e i h d e y , h vi g d a ll to s ta n d . Sta n h r f o r a n our o ns rt abo ut w t d t e e e , h vi g y l i gi i h trut a nd a no nh breas t la te o f r teo us ne ss h , h vi g t e p igh ; ‘ And yo ur f eet shod with the p rep a ra tio no f the go sp el o f p ea c e ; “ Abo e a ll ta n h s hield o f a t Wh r w i h e v , ki g t e f i h , e e t y shall be abl e to quench a ll the fiery da rts o f the wi cke d .
    [Show full text]
  • Some Links Between Chrétien De Troyes, Wolfram Von Eschenbach and J.R.R
    Volume 11 Number 2 Article 2 Fall 10-15-1984 Uncouth Innocence: Some Links Between Chrétien de Troyes, Wolfram von Eschenbach and J.R.R. Tolkien J. S. Ryan Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Ryan, J. S. (1984) "Uncouth Innocence: Some Links Between Chrétien de Troyes, Wolfram von Eschenbach and J.R.R. Tolkien," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 11 : No. 2 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol11/iss2/2 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Sees a subtle but pervasive similarity between von Eschenbach and Tolkien in “tone and central philosophies.” Sees “the whole medieval treatment of the Percival/Parzival theme” as “a general source for the various aspects of the hobbit character.” Also sees structural parallels between Chrétien de Troyes, von Eschenbach, and Lord of the Rings.
    [Show full text]
  • Personal Clothing in Wolfram's Parzival and Willehalm
    PERSONAL CLOTHING IN WOLFRAM'S PARZIVAL AND WILLEHALM: SYMBOLISM AND SIGNIFICANCE by PAULA BARRAN WEISS B.A., College of William and Mary, 1971 M.A., Cornell University, 1973 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES Department of Germanic Studies We accept this thesis as conforming - to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August, 1976 0 Paula Barran Weiss,.1976 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of German The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date O ABSTRACT This study is a discussion of the use of clothing symbolism by Wolfram von Eschenbach in Parzival and in Willehalm, investi• gating whether he did in fact use clothing symbols, how he made use of them, and suggesting some explanation for why he used them. The reasonableness of the hypothesis that clothing sym• bols were used is established by the existence of a strong symbolic tradition in the times in which Wolfram was writing, an era in which everything participated in the fundamental underlying unity of all creation and therefore had the potential for acting as symbols of those aspects to which a relationship was established.
    [Show full text]
  • Reading List Readings and Assignments
    GEW 6504: The Courtly Romances Spring 2020 Professor Will Hasty / Dauer 263a / 352-273-3780 Office Hours: W 6th/7th periods or by appt. Reading List Reading List GER 6405: The Courtly Romances Professor Will Hasty ([email protected]) Reading List The Nibelungenlied, trans. A.T. Hatto (Penguin Classics Edition, 1969) ISBN: 0-14-044137-9 Parzival, trans. A.T. Hatto (Penguin Classics Edition, 1980) ISBN: 0-14-044361-4 Tristan, trans. A.T. Hatto (Penguin Classics Edition, 1967) ISBN: 0-14-044098-4 Arthurian Romances, Tales, and Lyric Poetry. The Complete Works of Hartmann von Aue(The Pennsylvania State University Press, 2001) ISBN: 0-271-02112-8 Other shorter texts from the primary and secondary literature will be made available. Research paper due at end of semester. Contact Will Hasty ([email protected]) for more information. Readings and Assignments Reading and homework assignments by week (subject to revision as needed) Note: for the purpose of accessing the Titus text database, use "titusstud" (without quotation marks) as the username, and "R2gveda5" (without quotation marks) as the password. As the semester proceeds, the names of students doing commentaries on textual passages from the Middle High German editions will be added below. January 6: Introduction to German medieval literary studies. 13: St. Augustine: On Christian Doctrine, Book I (only) (Links to an external site.); Michael Frasetto, Medieval Germany: History of Emperors and Empire, ca. 750-ca. 1350; (Links to an external site.) The Hildebrandslied (Links to an external site.); Please read the first few chapters of the Nibelungenlied, in case we have time to start with this.
    [Show full text]
  • The History of a Talisman the Quest for the Holy Lance from Chretien De Troyes to Richard Wagner
    The History of a Talisman The Quest for the Holy Lance from Chretien de Troyes to Richard Wagner Nei l E. Thomas University of Durham Not all who will have encountered the honorand will know of the breadth of his culrural interests. These include, as one would expect, the linguistic and literary - especially concerning the literature of Arthur and the Grail. However, they are equally historiographical, his special expertise being the Crusades, including the famous legend of how the finding of the holy lance inspired the Crusaders at the siege of Antioch in 1098; and also, notably, operatic. I wish to do justice to both professional and extra-curricular areas of his concerns by taking a diachronic approach to the motif of the lance quest, which first occurred in a work by the medieval French author on whom he wrote a notable monograph, Chretien de Troyes. This study will focus in particular on the COllte du Graal (c.I1So) and compare the motif of the lance quest with its rather idiosyncratic avatar, the opera of Parsifal by Richard Wagner (1882). Chretien's famously uncompleted romance was adapted into German and completed (according to its author's own conceptions) by Wolfram von Eschenbach in his Parzival (c.t200), the version which Richard Wagner used as inspiration for his last opera. Parsifol takes onl y certain features from the 25,ooo-line romance by Wolfram von Eschenbach,' the composer himself showing an abundant awareness of operatic constraints when he wrote: I cannot choose to work on such a broad scale as Wolfram von Eschenbach was able to do: I have to compress everything into three climactic situations of violent intensity, so that the work's profound and ramified content emerges clearly and distinctly.
    [Show full text]