Enites schöne Seele
-
Florian Kragl
Abstract
The article addresses the difficulties which German Arthurian romance has in narrating or illustrating the inner life of its characters. The focus is mainly on the interdependency of narrative motivation and character drawing, and the examples used stem mainly from the German Erec of Hartmann von Aue (as distinct from Chrétien’s Erec et Enide and the Wilhelm von Orlens by Rudolf von Ems). While in most literary situations (as well as in everyday life as we perceive it) the actions of a character are overwhelmingly linked with what is going on within the character, the German Arthurian romance around 1200 loosens this link by starkly idealising its main characters at the surface level of the text. This forces the reader to generate hypotheses, sometimes prompted by allegory, about the psychological condition of the narrationis personae.
Abstract
The article addresses the difficulties which German Arthurian romance has in narrating or illustrating the inner life of its characters. The focus is mainly on the interdependency of narrative motivation and character drawing, and the examples used stem mainly from the German Erec of Hartmann von Aue (as distinct from Chrétien’s Erec et Enide and the Wilhelm von Orlens by Rudolf von Ems). While in most literary situations (as well as in everyday life as we perceive it) the actions of a character are overwhelmingly linked with what is going on within the character, the German Arthurian romance around 1200 loosens this link by starkly idealising its main characters at the surface level of the text. This forces the reader to generate hypotheses, sometimes prompted by allegory, about the psychological condition of the narrationis personae.
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
