Ginovers Krise
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Ulrich Hoffmann
Abstract
The article examines the Gasoein episode in Heinrich von dem Türlin’s Diu Crône, focusing on Ginover’s choice between the men competing for her love. A close reading of the text demonstrates how the crisis of the court gradually shifts to become an internal crisis for Ginover, even while the immediate background of the case remains unclear. Clearly Heinrich’s narrative practice aims at a narration of latency that extends to the interiority of the character as well as to the narration. By employing this technique, Heinrich not only obscures the facts underlying the crisis but also veils the state of the character’s knowledge and feelings. The article proposes that Cicero’s topos of the interplay between the evident and that which is latent in matters of fate and the emotions - a topos subjected to further scrutiny by Boethius - could function as a model through which Heinrich manages to present the unresolved crisis in constantly new constellations.
Abstract
The article examines the Gasoein episode in Heinrich von dem Türlin’s Diu Crône, focusing on Ginover’s choice between the men competing for her love. A close reading of the text demonstrates how the crisis of the court gradually shifts to become an internal crisis for Ginover, even while the immediate background of the case remains unclear. Clearly Heinrich’s narrative practice aims at a narration of latency that extends to the interiority of the character as well as to the narration. By employing this technique, Heinrich not only obscures the facts underlying the crisis but also veils the state of the character’s knowledge and feelings. The article proposes that Cicero’s topos of the interplay between the evident and that which is latent in matters of fate and the emotions - a topos subjected to further scrutiny by Boethius - could function as a model through which Heinrich manages to present the unresolved crisis in constantly new constellations.
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
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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
