Palamède im Spiegel seiner selbst im Tristan en Prose
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Alain Corbellari
Abstract
Narrative literature of the Middle Ages did not have at its disposal the psychological vocabularies which are used in the modern novel; psychological insights are, however, often an equally important source of creativity in medieval romance. Arthurian novels, in particular, are full of situations which might at first glance seem strange or forced, but which are designed to convey intuitions about their characters’ inner lives - observations that will later be corroborated by modern psychology. Here this is exemplified by an amazing episode of the Tristan en Prose in which Palamède, hopelessly in love with Iseult, looks upon himself and, not recognising himself in the mirror of a spring, starts to realise how love and its consequences can impact upon individual personality. The article concludes by considering whether Palamède, in outlining a theory of the double, is not in fact anticipating what Lacan calls the ›mirror stage‹.
Abstract
Narrative literature of the Middle Ages did not have at its disposal the psychological vocabularies which are used in the modern novel; psychological insights are, however, often an equally important source of creativity in medieval romance. Arthurian novels, in particular, are full of situations which might at first glance seem strange or forced, but which are designed to convey intuitions about their characters’ inner lives - observations that will later be corroborated by modern psychology. Here this is exemplified by an amazing episode of the Tristan en Prose in which Palamède, hopelessly in love with Iseult, looks upon himself and, not recognising himself in the mirror of a spring, starts to realise how love and its consequences can impact upon individual personality. The article concludes by considering whether Palamède, in outlining a theory of the double, is not in fact anticipating what Lacan calls the ›mirror stage‹.
Kapitel in diesem Buch
- Frontmatter i
- Inhalt v
- Vorwort der Herausgeber ix
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I. Die emotionale Seite der Figur: Innensicht und ›Figurenpsychologie‹
- Artusrittertum und Melancholie 3
- Emotionen in den Tristan-Romanen: Zorn- und Wutausbrüche 19
- »Wes das Herz voll ist, des gehet der Mund über« 31
- Was fühlen Erzähler? 47
- Zur Psycho-Logik bei Wolfram 63
- Palamède im Spiegel seiner selbst im Tristan en Prose 87
- Innensicht und Außensicht 99
- Enites schöne Seele 117
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II. Die emotionale Seite der Handlung: Figurenkonzeption und Handlungsmotivation
- Die Tränen der Cunneware 155
- Lancelot – eine komplexe Figur zwischen höfischer Liebe und Gralsrittertum 173
- Eine flache Figur? 185
- The Community and its Champion 197
- Verflachung der Emotionen? 213
- Emotion und Handlungsmotivation in Sir Tristrem 229
- Ginovers Krise 243
- Motiviertes Handeln oder fixe Rollenzuteilung 271
Kapitel in diesem Buch
- Frontmatter i
- Inhalt v
- Vorwort der Herausgeber ix
-
I. Die emotionale Seite der Figur: Innensicht und ›Figurenpsychologie‹
- Artusrittertum und Melancholie 3
- Emotionen in den Tristan-Romanen: Zorn- und Wutausbrüche 19
- »Wes das Herz voll ist, des gehet der Mund über« 31
- Was fühlen Erzähler? 47
- Zur Psycho-Logik bei Wolfram 63
- Palamède im Spiegel seiner selbst im Tristan en Prose 87
- Innensicht und Außensicht 99
- Enites schöne Seele 117
-
II. Die emotionale Seite der Handlung: Figurenkonzeption und Handlungsmotivation
- Die Tränen der Cunneware 155
- Lancelot – eine komplexe Figur zwischen höfischer Liebe und Gralsrittertum 173
- Eine flache Figur? 185
- The Community and its Champion 197
- Verflachung der Emotionen? 213
- Emotion und Handlungsmotivation in Sir Tristrem 229
- Ginovers Krise 243
- Motiviertes Handeln oder fixe Rollenzuteilung 271
