Zur Psycho-Logik bei Wolfram
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Björn Reich
Abstract
Medieval systems of affectus and the passions were closely linked with teachings on imagination and on the humours. This paper investigates whether they played a role in the constitution of protagonists. It becomes clear that the figures of Parzival and Gawan have been conceived as types which are shaped by memoria or imaginatio but have been given a pronounced stamp or character of their own. This makes it possible to develop psycho-logical readings of the figures Parzival and Gawan within the framework of medieval phantasmatology. This is particularly interesting in cases where conflicts arise between the figures’ profile as individuals and their characteristics as representatives of a type, because the psycho- logic of the figure embraces both: its type and its specific individual realisation.
Abstract
Medieval systems of affectus and the passions were closely linked with teachings on imagination and on the humours. This paper investigates whether they played a role in the constitution of protagonists. It becomes clear that the figures of Parzival and Gawan have been conceived as types which are shaped by memoria or imaginatio but have been given a pronounced stamp or character of their own. This makes it possible to develop psycho-logical readings of the figures Parzival and Gawan within the framework of medieval phantasmatology. This is particularly interesting in cases where conflicts arise between the figures’ profile as individuals and their characteristics as representatives of a type, because the psycho- logic of the figure embraces both: its type and its specific individual realisation.
Chapters in this book
- 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
Chapters in this book
- 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
