HÖREN – LESEN – SEHEN. Buch und Schriftlichkeit im Selbstverständnis der volkssprachlichen literarischen Kultur Deutschlands um 1200

Curschmann, Michael

doi:10.1515/bgsl.1984.1984.106.218

Cited by 6 publications

(1 citation statement)

References 5 publications

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“…Instead, this claim can be regarded as a signal of identity, belonging to contemporary lay knightly culture and distinct from the court clerics and those knights who had received a clerical education in Latin (cf. Green 1994: 292; Curschmann 1984: 235). Regardless of Wolfram's supposed analphabetism, it is certain from references within the text that Parzival existed in a written form and in a culture where such texts were expected to be both read aloud and circulated for private reading by individuals, particularly noble women, who enjoyed a higher rate of literacy (cf.…”

Section: The Linguistic and Cultural Context Of Parzivalmentioning

confidence: 99%

Rethinking the Metre of Parzival: Iambic Verse for a Trochaic Language

Booth

2023

Trans of the Philol Soc

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The Middle High German (MHG) prosodic foot is uncontroversially considered to be trochaic, a fact which has traditionally led scholars to assume a preference for trochaic metre in poetry of the MHG Classical Period. However, given the trend elsewhere in mediaeval Europe (even in trochaic languages) to emulate French lyrics and compose verse in iambic metre, the uncritical assumption of a trochaic metre in all MHG poetry seems inadequate. A close examination of Parzival, an early thirteenth‐century grail romance by Wolfram von Eschenbach, suggests that the traditional analysis is not only insufficient but counter to the linguistic evidence. This paper argues for the first time that Parzival was in fact composed in iambic tetrameter, based on a close analysis of the rhythmic alternations within lines and the quantity and foot structure of line‐final syllables. Halle & Keyser's (1966) principles for iambic metre were used to produce a taxonomy of possible line structures in Parzival and the dominance of the wswswsws pattern, beginning on a weak beat and ending on a strong, offers convincing evidence in favour of iambic metre. The remaining lines can be neatly categorised as iambic by allowing feminine rhyme (with an extrametrical schwa syllable) or the construction of monosyllabic feet from a single heavy syllable. This analysis is further corroborated by the consistently iambic structure of line‐final feet, as well as the foot structures avoided by the poet, identified according to the weight of the final, penultimate and antepenultimate syllables. The present analysis has the advantage of explaining the various patterns of alternating prominence in the metre of Parzival much more consistently than the complex system advocated by the traditional literary view.

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Section: The Linguistic and Cultural Context Of Parzivalmentioning

confidence: 99%

Rethinking the Metre of Parzival: Iambic Verse for a Trochaic Language

Booth

2023

Trans of the Philol Soc

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The Logos in the Press: Christ in the Wine-Press and the Discovery of Printing

Wenzel¹

2005

Visual Culture and the German Middle Ages

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The Bronze Object in the Middle Ages

Weinryb¹

2016

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This book presents the first full length study in English of monumental bronzes in the Middle Ages. Taking as its point of departure the common medieval reception of bronze sculpture as living or animated, the study closely analyzes the practice of lost wax casting (cire perdue) in western Europe and explores the cultural responses to large scale bronzes in the Middle Ages. Starting with mining, smelting, and the production of alloys, and ending with automata, water clocks and fountains, the book uncovers networks of meaning around which bronze sculptures were produced and consumed. The book is a path-breaking contribution to the study of metalwork in the Middle Ages and to the re-evaluation of medieval art more broadly, presenting an understudied body of work to reconsider what the materials and techniques embodied in public monuments meant to the medieval spectator.

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HÖREN – LESEN – SEHEN. Buch und Schriftlichkeit im Selbstverständnis der volkssprachlichen literarischen Kultur Deutschlands um 1200

Cited by 6 publications

References 5 publications

Rethinking the Metre of Parzival: Iambic Verse for a Trochaic Language

Rethinking the Metre of Parzival: Iambic Verse for a Trochaic Language

The Logos in the Press: Christ in the Wine-Press and the Discovery of Printing

The Bronze Object in the Middle Ages

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