{Download PDF} Parzival

Total Page:16

File Type:pdf, Size:1020Kb

{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. Parsifal departs victorious. It is the morning of Good Friday , and Kundry has returned abjectly to the knights. A mysterious man appears and begins to pray, but he is soon recognized as Parsifal. He and Gurnemanz share news of what has happened while Parsifal was on his quest. With holy rituals, Parsifal, who has safeguarded the spear, becomes the new leader of the Grail knights. Redemption for Kundry follows; the scene closes with the Good Friday Music. Account Options Sign in. Top charts. New arrivals. Parzival Wolfram Eschenbach Aug It follows Parzival from his boyhood and career as a knight in the court of King Arthur to his ultimate achievement as King of the Temple of the Grail, which Wolfram describes as a life-giving Stone. As a knight serving the German nobility in the imperial Hohenstauffen period, the author was uniquely placed to describe the zest and colour of his hero's world, with dazzling depictions of courtly luxury, jousting and adventure. Parzival, therefore, wins the hand of Condwiramurs and becomes a king. The frescos of weavers on the opposite wall facing Parzival, depicting women in the Middle Ages. Compared the Parzival frescos to the frescos of weavers on the opposite wall, we found some striking similarities and differences. While the frescoes cover different subjects, it is interesting to note that the two murals stretch over three lines of the same height and are separated by narrow horizontal lines. In addition, both murals contain similar flower and curtain borders which bring two motifs together as part of the same series. On the other hand, the two frescoes illustrate contracting topics: the Parzival fresco portrays examples of knightly behavior influenced by noble ladies as Parzival embarks on his journey to the Arthurian Court, while the Weavers depicts the roles of women in medieval society. Parzival ( edition) | Open Library Parsifal departs victorious. It is the morning of Good Friday , and Kundry has returned abjectly to the knights. A mysterious man appears and begins to pray, but he is soon recognized as Parsifal. He and Gurnemanz share news of what has happened while Parsifal was on his quest. With holy rituals, Parsifal, who has safeguarded the spear, becomes the new leader of the Grail knights. Redemption for Kundry follows; the scene closes with the Good Friday Music. Still too weak to carry out his duties, Amfortas is carried into the hall. Parsifal touches the wound with the spear, and Amfortas is healed. Parsifal takes the crystal Grail from its golden shrine, and it glows with increasing brightness. Kundry, having gained forgiveness, falls lifeless to the floor. Parsifal waves the Grail in blessing over the knights, and a dove comes down from above to hover over him. Parsifal Article Media Additional Info. Article Contents. Print print Print. Table Of Contents. Facebook Twitter. Give Feedback External Websites. Let us know if you have suggestions to improve this article requires login. External Websites. Betsy Schwarm Betsy Schwarm is a music historian based in Colorado. She serves on the music faculty of Metropolitan State University of Denver and gives pre-performance talks for Opera Colorado and the Colorado Symphony See Article History. Get exclusive access to content from our First Edition with your subscription. Account Options Sign in. Top charts. New arrivals. Parzival Wolfram Eschenbach Aug It follows Parzival from his boyhood and career as a knight in the court of King Arthur to his ultimate achievement as King of the Temple of the Grail, which Wolfram describes as a life-giving Stone. As a knight serving the German nobility in the imperial Hohenstauffen period, the author was uniquely placed to describe the zest and colour of his hero's world, with dazzling depictions of courtly luxury, jousting and adventure. The "Parzival" of Wolfram von Eschenbach. Translated into English verse with introduction, notes and connecting summaries by Edwin H. Parzival Paris : Aubier , Parzival, par Wolfram d'Eschenbach. Introduction, traduction et notes de Maurice Wilmotte Paris : la Renaissance du livre , Parzival Stuttgart und Berlin, J. In x , X p. Parzival, von Wolfram von Eschenbach. Cotta'sche Buchhandlung Nachfolger , Wohlfeile Ausg. Mit einem Nachwort von Friedrich v. Neu bearbeitet von Wilhelm Hertz Suttgart : J. Reclam jun. Parzival und Titurel, Rittergedichte Stuttgart , Mentelin, , Spectacles 1 Parzival, Episodes et Echo Documents sur "Parzival" 62 ressources dans data. Kommentar zum IV. Wolfram von Eschenbach Wien : Praesens Verlag , Lang , Spiegelungen Berlin : De Gruyter , Hirzel , Wolfram von Eschenbach Berlin : E. Schmidt , cop. Heldentum und Weiblichkeit Marburg : Tectum , cop. Parzival | Definition of Parzival at Published on. Flowing text. Best for. Web, Tablet, Phone, eReader. Content protection. Learn more. Wolfram von Eschenbach Berlin : E. Schmidt , cop. Heldentum und Weiblichkeit Marburg : Tectum , cop. Leiden lesen Berlin : W. Mannes manheit, vrouwen meister Frankfurt am Main : Lang , Parzival Cambridge : D. Brewer , Artuswelt und Gralswelt im Bild Wiesbaden : L. Reichert , Lang , cop. Daz sint noch ungelogeniu wort Heidelberg : C. Winter , cop. Winter , Ein komplexer Ritter auf seiner dynamischen Queste Bern : P. A companion to Wolfram's "Parzival" Columbia S. Le monde du Graal [Paris] : le Grand livre du mois , Romancing the grail Ithaca ; London : Cornell university press , Gralsuche und Adelsheil Heidelberg : C. Wolframs Parzival Heidelberg : C. Parzivalrezeption im Mittelalter Darmstadt : Wissenschaftliche Buchgesellschaft , Parzival Paris : La Renaissance du livre , Auteurs en relation avec "Parzival" 24 ressources dans data. Alphonse Grandmont. Wolfgang Mohr Karl Simrock I'm here talking to all of you now because our future's being threatened by people who will stop at nothing to win this contest. Some of you already know this, and you've lost much more than just your avatars or your weapons. Some have lost their freedom. Some have lost their lives. And now, this. A force field around the third challenge. I only came here to escape the shitty hand that life dealt me. But I stayed, like many of you, because I found something much bigger than just myself. I found a cause. I found my friends. And yes, I know it's kind of a groaner, but I found love. And I don't wanna lose that to this colossal douchebag, Nolan Sorrento. He thinks that we're all too distracted to even notice. Nolan Sorrento thinks that we won't put up a fight. The only thing Halliday let this guy do He thinks that we won't even put up a fight! Well, I say he's wrong. I say, tell that to the gunter clans in the gold mines of Gygax. Are you willing to fight? I am Parzival of the High Five. Parzival in a promotional poster, which pays homage to the Back to the Future poster. Ready Player One () - Tye Sheridan as Parzival, Wade - IMDb As a knight serving the German nobility in the imperial Hohenstauffen period, the author was uniquely placed to describe the zest and colour of his hero's world, with dazzling depictions of courtly luxury, jousting and adventure. Yet this is not simply a tale of chivalry, but an epic quest for spiritual education, as Parzival must conquer his ignorance and pride and learn humility before he can finally win the Holy Grail. Reviews Review policy and info. Published on. Flowing text. Best for. Web, Tablet, Phone, eReader. Content protection. Learn more. Flag as inappropriate. Parzival is a medieval German romance by Wolfram von Eschenbach that focuses on the Arthurian hero, Parzival, and his long quest for the Holy Grail. After being named the Red Knight, Parzival rides aways and encounters Gurnemanz de Graharz at his castle. The kindly host teaches Parzival how to make the sign of the Cross and other holy actions, and tells him to "not ask too many questions. This image portrays Parzival fighting and defeating King Clamide, who has besieged Condwiramurs and plans to force her into marrying him. Parzival, therefore, wins the hand of Condwiramurs and becomes a king. The frescos of weavers on the opposite wall facing Parzival, depicting women in the Middle Ages. Compared the Parzival frescos to the frescos of weavers on the opposite wall, we found some striking similarities and differences.
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]
  • 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]
  • The Women of the Holy Grail
    University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2007 Searching for the Feminine: The omeW n of the Holy Grail Teresa Marie Lopez University of Tennessee - Knoxville Recommended Citation Lopez, Teresa Marie, "Searching for the Feminine: The omeW n of the Holy Grail. " Master's Thesis, University of Tennessee, 2007. https://trace.tennessee.edu/utk_gradthes/768 This Thesis is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Teresa Marie Lopez entitled "Searching for the Feminine: The omeW n of the Holy Grail." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Laura Howes, Major Professor We have read this thesis and recommend its acceptance: Mary Dzon, Stanton Garner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) To the Graduate Council: I am submitting herewith a thesis written by Teresa Marie Lopez entitled "Searching for the Feminine: The Women of the Holy Grail." I have examined the final paper copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English.
    [Show full text]