Verflachung der Emotionen?
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Susanne Friede
Abstract
The earlier 20th-century consensual view of Chrétien de Troyes as ›the creator of the modern romance‹ is still of relevance to the current debate in that it focused on Chrétien’s depiction of ›psychological problems‹ of characters and on his detailed portrayal of their ›emotional states‹. Using examples from the first part of Erec et Enide and Yvain ou Le chevalier au lion respectively, the article proposes that the narrations depict intense displays of emotion - not necessarily complex - in characters, behaviours which are more than schematic or formulaic. Both romances contain examples - notably depicting the anger of protagonists - that motivate basic elements of narrative and contribute to plot development. This prominent fusion of emotion and narration gives rise to a considerable resemblance between Arthurian protagonists and epic figures. The article concludes that contrary to widespread belief, this ›epic element‹ is a constituent part of these two Arthurian romances.
Abstract
The earlier 20th-century consensual view of Chrétien de Troyes as ›the creator of the modern romance‹ is still of relevance to the current debate in that it focused on Chrétien’s depiction of ›psychological problems‹ of characters and on his detailed portrayal of their ›emotional states‹. Using examples from the first part of Erec et Enide and Yvain ou Le chevalier au lion respectively, the article proposes that the narrations depict intense displays of emotion - not necessarily complex - in characters, behaviours which are more than schematic or formulaic. Both romances contain examples - notably depicting the anger of protagonists - that motivate basic elements of narrative and contribute to plot development. This prominent fusion of emotion and narration gives rise to a considerable resemblance between Arthurian protagonists and epic figures. The article concludes that contrary to widespread belief, this ›epic element‹ is a constituent part of these two Arthurian romances.
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
