Eine flache Figur?
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Seraina Plotke
Abstract
Ulrich von Zatzikhoven’s Arthurian novel has already been analyzed, and especially assessed, in various ways by Medieval studies. The Lanzelet is catalogued as ›poor literature‹, read as ›pure entertainment‹, explained with the ›acausality of myth‹, and determined to be ›archaic‹ or ›post-classical‹. Many of these characterizations have their basis, according to my thesis, in the interior lives of Ulrich’s characters, or lack thereof. Even when it comes to the main protagonist we find few clues that give any indication of what he thinks or feels and why. Soliloquies and other forms of thought conveyance which we encounter in other Arthurian tales scarcely appear and the narrator himself proves reticent when it comes to specific descriptions. This article sounds out what forms of introspection, psycho-narration and focalization are observable in Lanzelet. It will be shown to what extent such a discussion deals with plot motivation and what role gender aspects play.
Abstract
Ulrich von Zatzikhoven’s Arthurian novel has already been analyzed, and especially assessed, in various ways by Medieval studies. The Lanzelet is catalogued as ›poor literature‹, read as ›pure entertainment‹, explained with the ›acausality of myth‹, and determined to be ›archaic‹ or ›post-classical‹. Many of these characterizations have their basis, according to my thesis, in the interior lives of Ulrich’s characters, or lack thereof. Even when it comes to the main protagonist we find few clues that give any indication of what he thinks or feels and why. Soliloquies and other forms of thought conveyance which we encounter in other Arthurian tales scarcely appear and the narrator himself proves reticent when it comes to specific descriptions. This article sounds out what forms of introspection, psycho-narration and focalization are observable in Lanzelet. It will be shown to what extent such a discussion deals with plot motivation and what role gender aspects play.
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
