DOCSLIB.ORG

Cöllen / Gefiolierte Blüte Kunst

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cöllen / Gefiolierte Blüte Kunst Cöllen / Gefiolierte blüte kunst Dissertation presented at Uppsala University to be publicly examined in Ihresalen, Thunbergsvägen 3 H, Uppsala, Saturday, 26 May 2018 at 13:15 for the degree of Doctor of Philosophy. The examination will be conducted in German. Faculty examiner: Prof. Dr. Jens Haustein (Institut für Germanistische Literaturwissenschaft, Friedrich-Schiller-Universität Jena). Abstract Cöllen, S. 2018. Gefiolierte blüte kunst. Eine kognitionslinguistisch orientierte Untersuchung zur Metaphorik in Frauenlobs Marienleich. 307 pp. Uppsala: Institutionen för moderna språk, Uppsala universitet. ISBN 978-91-506-2691-9. Heinrich of Meißen, also known as Frauenlob († 1318), is a central figure in Middle High German literature. As is evident from its early reception, his work was highly admired in the middle ages. In research literature, however, his ‘obscure’ poetry initially was faced with a lack of understanding. The main challenge for comprehending Frauenlob lies in his rich metaphorics. However, despite the importance of the metaphors in Frauenlob’s work, the question about their role in the construction of meaning was not seriously raised until the last decades and has not yet been thoroughly investigated. This problem is all the more serious as Frauenlob’s poetry, which has often been attributed with a seemingly ‘modern’ ambivalence, is at the centre of the recent debate of the historicity of metaphor. His poetry offers a fruitful empirical entry to the important issues whether metaphors are interpreted today in the same way as in the middle ages, and whether modern theories of metaphor are adequate for the historical analysis of medieval metaphorics. The present study aims to describe and explain how the metaphors in Frauenlob’s Marienleich functions. It is shown that the traditional substitution account of metaphor leads to a reductionist view of the construction of meaning in this text. The modern interaction account also contains aspects whose suitability with regard to the medieval expectations on the production of meaning can be questioned. As an alternative, the present investigation proposes a context sensitive analytic model based on cognitive linguistics that tries to preserve the hermeneutic difference to Frauenlob’s Marienleich. This cognitive perspective, which is here applied to Frauenlob’s work for the first time, enables a more precise description and explanation of how the metaphorical meaning is constructed than was hitherto possible. The result shows that, whereas Frauenlob’s poetry may not be as modern as is sometimes believed, the metaphors in his Marienleich are much more than an artistic show-off; rather, they represent an efficient means of actualising a complex religious meaning. Keywords: metaphor, substitution theory, interaction theory, historicity, middle ages, Virgin Mary, theology, cognitive linguistics Sebastian Cöllen, Department of Modern Languages, Box 636, Uppsala University, SE-75126 Uppsala, Sweden. © Sebastian Cöllen 2018 ISBN 978-91-506-2691-9 urn:nbn:se:uu:diva-347182 (http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-347182) Inhaltsverzeichnis Vorwort .................................................................................................................................. VII I. Teil. Einleitung .............................................................................................................. 1 1. Heinrich Frauenlob – Zentralgestalt der dunklen Rede ..................................................... 3 1.1. Der Dichter und sein Werk ....................................................................................... 6 1.2. Dichtung zwischen Lob und Tadel: Die frühe Frauenlob-Rezeption ....................... 11 1.3. Dichtung zwischen Enthüllung und Verhüllung: Zum Stil Frauenlobs .................... 22 1.3.1. ›Geblümte Rede‹ .............................................................................................. 22 1.3.2. ›Dunkle Rede‹ ................................................................................................. 26 1.4. Dichtung zwischen Fremdheit und Vertrautheit: Die Frauenlob-Forschung ........... 29 1.5. Zusammenfassung ................................................................................................... 41 2. Die vorliegende Arbeit .................................................................................................... 43 2.1. Problemstellung und Methode ................................................................................ 43 2.1.1. Die Funktionsweise der Bilder Frauenlobs ....................................................... 43 2.1.2. Die Historizität der Metapher ......................................................................... 53 2.2. Theoretisches Rahmenwerk ..................................................................................... 58 2.3. Deskriptive Terminologie ........................................................................................ 64 II. Teil. Metapherntheorie ............................................................................................... 69 3. Die Historizität der Metapher ......................................................................................... 71 3.1. Das Narrativ der historischen Zäsur ......................................................................... 72 3.1.1. Die Substitutionstheorie der Metapher ............................................................ 72 3.1.2. Die Interaktionstheorie der Metapher ............................................................. 77 3.2. Sprachphilosophische Voraussetzungen zur Metapherntheorie des Mittelalters ........ 81 3.2.1. Die mittelalterliche Substanzontologie ............................................................ 81 3.2.2. Das semiotische Dreieck .................................................................................. 87 3.3. Das klassische Modell der Metapher ........................................................................ 96 3.3.1. Das aristotelische Analysemodell ..................................................................... 97 3.3.2. ›Substitution‹ vs. ›Übertragung‹ ..................................................................... 104 3.4. Aufbruch zur Moderne .......................................................................................... 114 3.4.1. Die mehrdeutige Metapher ............................................................................ 115 3.4.2. Die wirklichkeitserzeugende Metapher .......................................................... 122 3.5. Zusammenfassung ................................................................................................. 126 4. Kognitionslinguistische Metapherntheorie .................................................................... 129 4.1. Kognitionslinguistische Grundannahmen .............................................................. 129 4.2. Ein domänenbasiertes Metaphernmodell ............................................................... 133 4.3. Elemente der Bedeutungskonstruktion .................................................................. 147 4.3.1. Das enzyklopädische Wissen .......................................................................... 148 4.3.2. Frames .......................................................................................................... 148 4.3.3. ICMs ............................................................................................................. 150 4.3.4. Prätexte und Geschichten .............................................................................. 151 4.3.5. Konzeptuelle Metaphern und Metonymien .................................................... 153 4.4. Zusammenfassung ................................................................................................. 157 III. Teil. Frauenlobs Marienleich ................................................................................... 159 5. Die Funktionsweise der Bilder Frauenlobs .................................................................... 161 5.1. Beschreibung des Materials .................................................................................... 163 5.2. Analyse .................................................................................................................. 167 5.2.1. muter […] des lammes und der tuben: Das ICM der Trinität (GA, I.2.b) .......... 167 5.2.2. Ein bernde meit: Nur schmückende Szenerien? (GA, I.3.a) ............................. 184 5.2.3. durchsunken hat sin drilch: Mischung der Bedeutungsebenen (GA, I.4) ........... 194 5.2.4. ich az den veim: Anwendung des Prätexts (GA, I.9.a) ..................................... 204 5.2.5. Den slangen beiz min harm: Inkarnationsmysterium im Miniformat (GA, I.9.14) ............................................................................................................ 212 5.2.6. der palme, dem min grüzen quam: Das Kreuz in der Spannung zwischen Verheißung und Erfüllung (GA, I.9.19 f. und II.18.3) .................................... 217 5.2.7. Der smid von oberlande: Anrennen gegen die Grenze der Sprache (GA, I.11.a und 12.20–24) ...................................................................................... 224 5.2.8. ich got: Bildsprache an der prekären Grenze der Orthodoxie? (GA, I.12) ......... 233 5.2.9. ich drasch, ich mul: Bedeutungskonstruktion zwischen Profil und Konnotation (GA, I.12.25–29) ....................................................................... 243 5.2.10. Er blume von mir blume:
Load more

Recommended publications
  • BYZANTINE CAMEOS and the AESTHETICS of the ICON By
    BYZANTINE CAMEOS AND THE AESTHETICS OF THE ICON by James A. Magruder, III A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland March 2014 © 2014 James A. Magruder, III All rights reserved Abstract Byzantine icons have attracted artists and art historians to what they saw as the flat style of large painted panels. They tend to understand this flatness as a repudiation of the Classical priority to represent Nature and an affirmation of otherworldly spirituality. However, many extant sacred portraits from the Byzantine period were executed in relief in precious materials, such as gemstones, ivory or gold. Byzantine writers describe contemporary icons as lifelike, sometimes even coming to life with divine power. The question is what Byzantine Christians hoped to represent by crafting small icons in precious materials, specifically cameos. The dissertation catalogs and analyzes Byzantine cameos from the end of Iconoclasm (843) until the fall of Constantinople (1453). They have not received comprehensive treatment before, but since they represent saints in iconic poses, they provide a good corpus of icons comparable to icons in other media. Their durability and the difficulty of reworking them also makes them a particularly faithful record of Byzantine priorities regarding the icon as a genre. In addition, the dissertation surveys theological texts that comment on or illustrate stone to understand what role the materiality of Byzantine cameos played in choosing stone relief for icons. Finally, it examines Byzantine epigrams written about or for icons to define the terms that shaped icon production.
    [Show full text]
  • Ornament As Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100)
    Ornament as Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100) by Anna Bücheler A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Anna Bücheler 2014 Ornament as Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100) Anna Bücheler Doctor of Philosophy Department of Art University of Toronto 2014 Abstract This dissertation explores notions of ornamentation and issues of materiality in early and high medieval manuscript illumination. Focusing on ornament that evokes the weave patterns of Byzantine and Islamic silk in tenth and eleventh century manuscripts from Echternach, Einsiedeln, Reichenau, and elsewhere, this study argues that—in specific contexts—ornament has meaning and serves functions that go beyond mere decoration. The dissertation contextualizes so-called textile pages in the codicological and iconographic structure of the manuscripts in which they appear and examines them in light of exegetical texts that discuss the function and metaphoric meaning of matter in religious art. After the first chapter clarifies the formal relationship between medieval textiles and textile ornament, the subsequent chapters bring the ornamental images together with various textile metaphors. From such a reading of textile iconography emerge three major strands of meaning: the notion of scripture as a veil of revelation, the Incarnation as a symbolic garment, and textile-ornamented manuscripts as the corporeal book-bodies of scripture. In addition to an investigation of the allegorical meaning of textile ornament, a discussion of the function of physical matter in private meditation and the ii liturgy opens new perspectives on the utility and necessity of physical props for contemplative and liturgical purposes in medieval worship.
    [Show full text]
  • Practicing Love of God in Medieval Jerusalem, Gaul and Saxony
    he collection of essays presented in “Devotional Cross-Roads: Practicing Love of God in Medieval Gaul, Jerusalem, and Saxony” investigates test case witnesses of TChristian devotion and patronage from Late Antiquity to the Late Middle Ages, set in and between the Eastern and Western Mediterranean, as well as Gaul and the regions north of the Alps. Devotional practice and love of God refer to people – mostly from the lay and religious elite –, ideas, copies of texts, images, and material objects, such as relics and reliquaries. The wide geographic borders and time span are used here to illustrate a broad picture composed around questions of worship, identity, reli- gious affiliation and gender. Among the diversity of cases, the studies presented in this volume exemplify recurring themes, which occupied the Christian believer, such as the veneration of the Cross, translation of architecture, pilgrimage and patronage, emergence of iconography and devotional patterns. These essays are representing the research results of the project “Practicing Love of God: Comparing Women’s and Men’s Practice in Medieval Saxony” guided by the art historian Galit Noga-Banai, The Hebrew University of Jerusalem, and the histori- an Hedwig Röckelein, Georg-August-University Göttingen. This project was running from 2013 to 2018 within the Niedersachsen-Israeli Program and financed by the State of Lower Saxony. Devotional Cross-Roads Practicing Love of God in Medieval Jerusalem, Gaul and Saxony Edited by Hedwig Röckelein, Galit Noga-Banai, and Lotem Pinchover Röckelein/Noga-Banai/Pinchover Devotional Cross-Roads ISBN 978-3-86395-372-0 Universitätsverlag Göttingen Universitätsverlag Göttingen Hedwig Röckelein, Galit Noga-Banai, and Lotem Pinchover (Eds.) Devotional Cross-Roads This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
    [Show full text]
  • Rezeptionskulturen Trends in Medieval Philology
    Rezeptionskulturen Trends in Medieval Philology Edited by Ingrid Kasten · Niklaus Largier Mireille Schnyder Editorial Board Ingrid Bennewitz · John Greenfield · Christian Kiening Theo Kobusch · Peter von Moos · Ute Störmer-Caysa Volume 27 De Gruyter Rezeptionskulturen Fünfhundert Jahre literarischer Mittelalterrezeption zwischen Kanon und Populärkultur Herausgegeben von Mathias Herweg und Stefan Keppler-Tasaki De Gruyter ISBN 978-3-11-026498-2 e-ISBN 978-3-11-026499-9 ISSN 1612-443X Library of Congress Cataloging-in-Publication Data A CIP catalogue record for this book is available from the Library of Congress. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbiblio- grafie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © 2012 Walter de Gruyter GmbH & Co. KG, Berlin/Boston Gesamtherstellung: Hubert & Co. GmbH & Co. KG, Göttingen ∞ Gedruckt auf säurefreiem Papier Printed in Germany www.degruyter.com JUDITH LANGE/ROBERT SCHÖLLER* Von Frauen begraben Zur Generierung des Frauenlob-Bildes in Mittelalter und Neuzeit Nur wenigen mittelalterlichen Dichtern wurde eine solch langwährende Popularität zuteil wie dem fahrenden Sangspruchdichter Heinrich von Meißen, der unter dem Künstlernamen Frauenlob an den großen Fürs- tenhöfen Europas verweilte – ein einigermaßen verblüffender Befund an- gesichts einer Dichtkunst, die ausschließlich höchsten Ansprüchen genügt. Die „dunkle Exklusivität“1 seiner Wortschöpfungen konnte nur einen klei- nen und durchaus elitären Kreis erreichen, worauf nicht zuletzt die Über- tragung einzelner Dichtungen in das Lateinische hinweist. Im Bild eines Schöpfungsprozesses, der auf den Grund des Kessels hinabreicht,2 während die berühmten Vorgänger nur den Schaum abgetragen hätten, manifes- tiert sich ein Selbstverständnis, das polemische Seitenhiebe von zeitgenös- sischen Dichtern3 ebenso nach sich zog wie das nachhaltige Entsetzen der neuzeitlichen Philologen-Zunft, dessen Spuren bis in die zweite Hälfte des 20.
    [Show full text]
  • Vorschlag Für Eine Elektronische Edition Des Quaterrätsels Des Wartburgskriegs
    Masterstudiengang in Scienze del Linguaggio “LM-39” Masterarbeit Vorschlag für eine elektronische Edition des Quaterrätsels des Wartburgskriegs Erstgutachter/in Prof. Dr. Marina Buzzoni Zweitgutachter/in Prof. Dr. Roland Hinterhölzl Prüfingskandidat/in Elena Barbierato Matrikelnummer 842479 Akademisches Jahr 2018 / 2019 Danksagung Für Kritik und Förderung gilt mein besonderer Dank meinen beiden Betreuern, Prof. Dott. Marina Buzzoni und Prof. Dott. Roland Hinterhölzl, die mit Professionalität und Dialogbereitschaft an der Entstehung dieser Masterarbeit beteiligt waren. Ihre Beratung und Vertrauen waren mir sehr wichtig. Gedankt sei die Bayrische Staatsbibliothek München für die Übertragung von Handschriftfolien, die ansonsten mir nicht zugänglich waren. Darüber hinaus danke ich die Universität Stuttgart, die mir zum hier betrachteten Thema eingeleitet hat. Die Associazione Culturale Italo Tedesca in Venedig danke ich herzlich für die spannenden Diskussionen. Hierbei ist insbesondere die Präsidentin, Frau Prof. Dott. Nevia Pizzul Capello, hervorzuheben, derer ich für die Erschaffung einer anregenden Arbeitsatmosphäre zu tiefstem Dank verpflichtet bin. Ohne die Unterstützung meiner Familie wäre diese Masterarbeit nicht zustande gekommen. Dashalb danke ich sie von ganzem Herzen dafür. Darüber hinaus danke ich meinen Freuden, in Italien, in Deutschland und Spanien, die ihnen in schwierigen Situationen gelungen ist, mich zu inspirieren und bestärken. Inhaltsverzeichnis 1. Einleitung zum Wartburgkrieg ................................................................................
    [Show full text]
  • Reception of Josquin's Missa Pange
    THE BODY OF CHRIST DIVIDED: RECEPTION OF JOSQUIN’S MISSA PANGE LINGUA IN REFORMATION GERMANY by ALANNA VICTORIA ROPCHOCK Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. David J. Rothenberg Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2015 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Alanna Ropchock candidate for the Doctor of Philosophy degree*. Committee Chair: Dr. David J. Rothenberg Committee Member: Dr. L. Peter Bennett Committee Member: Dr. Susan McClary Committee Member: Dr. Catherine Scallen Date of Defense: March 6, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS List of Tables ........................................................................................................... i List of Figures .......................................................................................................... ii Primary Sources and Library Sigla ........................................................................... iii Other Abbreviations .................................................................................................. iv Acknowledgements ................................................................................................... v Abstract ..................................................................................................................... vii Introduction: A Catholic
    [Show full text]
  • Of the Codex Manesse
    The crests and coats-of-arms in the Grosse Heidelberger (Manesse) and Weingartener Liederhandschriften M A N Cod.Palat.Germ.848 Heidelberg, Universitätsbibliothek W L H HB XIII 1 = Poet.Germ. 1 Stuttgart, Württembergische Landesbibliothek Edited by Steen Clemmensen CONTENTS: Introduction 2 Manuscripts and editorial approach 2 Date, content and relations 3 References 6 Grosse Heidelberger (Manesse) Liederhandschrift 8 Weingartener Liederhandschrift 26 Ordinary of arms 28 Name index 30 © Steen Clemmensen, Farum, Danmark, 2008, www.armorial.dk Introduction: The miniatures with scenes of chivalry and coats-of-arms from the Codex Manesse or Grosse Heidelberger Liederhandschrift are probably the most used illustrations for both fiction and non- fiction books and articles on the Middle Ages. As such many of these are well-known to both armorists and interested members of the general public. The Manesse and the related Weingartner manuscript are collections of german medieval romantic poetry (Minnesang) with illustrations of the authors of the poems selected. All miniatures from both manuscripts are published in full colour and with extensive comments, and the Manesse is also available at the website of the Heidelberg University. This short editions of the coats of arms is merely intended as a key to the arms in the two manuscripts with short descriptions of the minstrels and notes on their relations to other armorials. The manuscripts and editorial approach The Grosse Heidelberger Liederhandschrift or Codex Manesse, MAN, BGH #3, Heidelberg Universitätsbibliothek, Cod.Palat.Germ.848, is written on parchment, 250 x 355 mm, presently of 426 folios, with ancient pagination in arabic numerals and some legends (omitted) in thin black ink, and contain 6000 verses by 140 poets living c.1150-c.1230, and 137 miniatures, numbered in roman numerals in heavy red ink, with 117 coats-of – arms by 4 illuminators.
    [Show full text]
  • Chips from a German Workshop. Vol. III. by F
    The Project Gutenberg EBook of Chips From A German Workshop. Vol. III. by F. Max Müller This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Chips From A German Workshop. Vol. III. Author: F. Max Müller Release Date: September 10, 2008 [Ebook 26572] Language: English ***START OF THE PROJECT GUTENBERG EBOOK CHIPS FROM A GERMAN WORKSHOP. VOL. III.*** CHIPS FROM A GERMAN WORKSHOP BY F. MAX MÜLLER, M. A., FOREIGN MEMBER OF THE FRENCH INSTITUTE, ETC. VOLUME III. ESSAYS ON LITERATURE, BIOGRAPHY, AND ANTIQUITIES. NEW YORK: CHARLES SCRIBNER AND COMPANY. 1871. Contents DEDICATION. 2 I. GERMAN LITERATURE. 3 LIST OF EXTRACTS FOR ILLUSTRATING THE HISTORY OF GERMAN LITERATURE. 39 II. OLD GERMAN LOVE-SONGS. 48 III. YE SCHYPPE OF FOOLES. 58 IV. LIFE OF SCHILLER. 68 V. WILHELM MÜLLER. 1794-1827. 90 VI. ON THE LANGUAGE AND POETRY OF SCHLESWIG-HOLSTEIN. 108 VII. JOINVILLE. 144 VIII. THE JOURNAL DES SAVANTS AND THE JOUR- NAL DE TRÉVOUX. 179 IX. CHASOT. 187 X. SHAKESPEARE. 200 XI. BACON IN GERMANY. 203 XII. A GERMAN TRAVELLER IN ENGLAND. 217 XIII. CORNISH ANTIQUITIES. 223 XIV. ARE THERE JEWS IN CORNWALL? . 268 XV. THE INSULATION OF ST. MICHAEL'S MOUNT. 294 XVI. BUNSEN. 317 LETTERS FROM BUNSEN TO MAX MÜLLER IN THE YEARS 1848 TO 1859. 360 Footnotes . 485 [i] DEDICATION. TO FRANCIS TURNER PALGRAVE, IN GRATEFUL REMEMBRANCE OF KIND HELP GIVEN TO ME IN MY FIRST ATTEMPTS AT WRITING IN ENGLISH, AND AS A MEMORIAL OF MANY YEARS OF FAITHFUL FRIENDSHIP.
    [Show full text]
  • “Noli Me Tangere” and “Incredulity of Thomas” in Word and Image from Early Christianity to the Ottonian Period
    To Touch or Not to Touch The “Noli me tangere” and “Incredulity of Thomas” in Word and Image from Early Christianity to the Ottonian Period Lisa Marie Rafanelli Introduction The goal of this paper is to begin an inquiry into the relationship in both word and image between the Noli me tangere and what I consider to be one of its natural foils, the Incredulity of Thomas.1 This “pair” has been largely overlooked by scholars, probably because the events are not system- atically linked in either the visual or verbal cultures. Nevertheless, there is much to be gained from examining instances when they are paired, since both events are recorded only in the Gospel of John, and both present eyewitness testimony of Christ’s Resurrection that hinges on touch, or at least, proffered touch. When treated as pendants, the events highlight important questions about the probative value of the human senses in matters of faith, the relationship between gender and the senses, gender reversal, and apostolic primacy. This paper attempts to locate the earliest examples of the pairing in both word and image. As shown in Part I, the issues raised by the comparison of the expe- riences of Saints Mary Magdalene and Thomas are engaged, directly and indirectly, by Early Christian writers, beginning in the 4th century. Nevertheless, there appears to have been a divergence between the ver- bal and visual cultures in Early Christianity: the Incredulity of Thomas can be found in early Christological cycles by the fourth to fifth centu- ries, while the Noli me tangere is not found until the ninth.
    [Show full text]
  • Bibliographie Zur Deutschsprachigen
    li B I B L I O G R A F I E D E U T S C H S P R A C H I G E L I T E R A T U R M A R I O L O G I E U N D M A R I E N V E R E H R U N G Stand: 8. Juni 2021, 160 S., ca. 3.200 Titel Obiges Bild zeigt einen Kupferstich von 1648, das Frontinspiz der ersten großen Bibliografie zur Marienliteratur, verfasst vom italienischen Theologen Ippolito Marracci (1612-1675) in Rom. Vergleichbares hat es danach lange nicht gegeben. Seit 1950 werden mariologische Beiträge von der Theologischen Fakultät „Marianum“ in Rom in regelmäßigen Abständen akribisch zusammengestellt und als „Bibliografia mariana“ in jeweils mehrere Jahre umfassende Bänden veröffentlicht, anfangs unter Leitung von Giuseppe M. Besutti OSM (+ 1994), Ermanno M. Toniolo (bis 1998), heute von Servano M. Danieli. Es erschienen bis 2019 sechzehn Bände über internationale mariologische Arbeiten auch deutscher Provenienz (seit 1948, Buchtitel und Zeitschriftenartikel). Diese Bibliografie kann unter http://www.culturamariana.com/BibliografiaMariana/BibliografiaMar.htm im Internet bandweise heruntergeladen werden. Mariologisch-marianische Veröffentlichungen aus Deutschland bis 1647 bietet das erwähnte Werk Marraccis; „Bibliotheca mariana alphabetico ordine digesta“ (Edizioni AMI, Roma 2005, 992 S.). Sie listet die marianischen Werke des Mittelalters und der frühen Neuzeit auf, darunter die Werke von 296 Autoren deutscher Herkunft, zumeist in lateinischer Sprache verfasst. 1987 legte Martina Instinsky- Anrich eine 178 Seiten starke Broschüre „Deutschsprachige Marianische Literatur 1945-1987“ vor (hg. vom IMAK, Kevelaer, nur Buchtitel). Die hier gebotene Bibliografie versteht sich als Ergänzung, da sie versucht, die deutschsprachigen Titel seit dem 17.
    [Show full text]
  • Frauenlieder Im Minnesang Bis Walther Von Der Vogelweide
    Frauenlieder im Minnesang bis Walther von der Vogelweide Forschungsabriss und Untersuchungen zur Überlieferung, zur weiblichen Sprechhandlung und zur genderspezifischen Emotionalität Inaugural-Dissertation in der Fakultät Geistes- und Kulturwissenschaften der Otto-Friedrich-Universität Bamberg vorgelegt von Ikue Nagasawa aus Nagoya/Aichi (Japan) 2015 Frauenlieder im Minnesang bis Walther von der Vogelweide. Forschungsabriss und Untersuchungen zur Überlieferung, zur weiblichen Sprechhandlung und zur genderspezifischen Emotionalität Inhalt Vorwort ...................................................................................................................................... 4 1. Einleitung ............................................................................................................................... 5 1.1. Frauenlied als Gattungsbezeichnung ............................................................................... 5 1.2. Forschungsgeschichte zum Frauenlied .......................................................................... 11 1.3. Die Weibliche Stimme im Mittelalter ........................................................................... 27 1.4. Gegenstand und Ziel der Arbeit .................................................................................... 29 2. Überlieferungsmerkmale der Frauenlieder: Mouvance und variance in den Frauenliedern von Friedrich von Hausen bis Walther von der Vogelweide ................................................... 31 3. Weibliche Stimme in Text und Aufführung ........................................................................
    [Show full text]
  • Der Exempelgebrauch in Der Sangspruchdichtung Vom Späten 12
    Der Exempelgebrauch in der Sangspruchdichtung vom späten 12. Jahrhundert bis zum Anfang des 14. Jahrhunderts Dissertation zur Erlangung der Doktorwürde im Fachbereich II: Sprach- und Literaturwissenschaften der Universität Trier vorgelegt von Shao-Ji Yao M.A. aus Kaohsiung, Taiwan eingereicht am 29.01.2005 Erstgutachter: Prof. Dr. Walter Röll Zweitgutachter: Prof. Dr. Martin Przybilski Inhaltverzeichnis: 1 Einleitung .......................................................................................................................... 2 1.1. Forschungsgeschichte zum bîspel in der mittelalterlichen Spruchdichtung .............. 2 1.2. Zur Problematik der Terminologie............................................................................. 5 1.2.1 Fabel und bîspel ................................................................................................. 6 1.2.2 Exempel............................................................................................................ 11 1.2.3 Typologie und Gattungsabgrenzung ................................................................ 20 1.2.4 Exempelgebrauch in der mittelalterlichen Literatur......................................... 24 1.2.5 Zu Lied und Sangspruch .................................................................................. 26 1.3 Ziel der Arbeit .......................................................................................................... 30 2 Überblick über das dieser Arbeit zugrunde liegende Material.................................. 31 2.1
    [Show full text]