Die Tränen der Cunneware
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Jutta Eming
Abstract
In a well-known episode in Wolfram’s Parzival, the hero arrives at King Arthur’s court and is greeted with laughter by the young noble woman Cunneware. There is another episode, which corresponds to this scene, that has received less scholarly attention. It occurs later in the romance when Cunneware responds with tears to Cundrie’s public damnation of Parzival. This article seeks to explore the obvious poetic interconnectivity of both events, arguing that the motivation of laughter and tears as well as their relation to courtly interaction can be understood as coded emotions. This brings with it some discussion of the term ›code‹ as it relates to emotions, which has been the subject of some controversy in recent research on emotionality.
Abstract
In a well-known episode in Wolfram’s Parzival, the hero arrives at King Arthur’s court and is greeted with laughter by the young noble woman Cunneware. There is another episode, which corresponds to this scene, that has received less scholarly attention. It occurs later in the romance when Cunneware responds with tears to Cundrie’s public damnation of Parzival. This article seeks to explore the obvious poetic interconnectivity of both events, arguing that the motivation of laughter and tears as well as their relation to courtly interaction can be understood as coded emotions. This brings with it some discussion of the term ›code‹ as it relates to emotions, which has been the subject of some controversy in recent research on emotionality.
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
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
