Motiviertes Handeln oder fixe Rollenzuteilung
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Andreas Hammer
Abstract
Among the stock characters of the medieval Arthurian epic, who appear in nearly every romance, one of them, Arthur’s steward Keie, seems to be the diametric opposite of a courtly knight. In fact his character is full of negative stereotypes: in the French and German romances he consistently plays the role of the churl, the mocker, and the loser. The Welsh Arthurian tradition, on the other hand, knows of him as one of the greatest heroes, a potent and honorable warrior of Arthur. This paper analyzes differences between these models in order to ask whether such a clearly predetermined role can have an impact on the motivation of the figure as well as on that of the plot. Viewed in this way, Keie becomes one of the most complex characters found in Arthurian literature, one who even affects the action of the protagonists, even if his exceptional position remains erratic and ultimately unexplained.
Abstract
Among the stock characters of the medieval Arthurian epic, who appear in nearly every romance, one of them, Arthur’s steward Keie, seems to be the diametric opposite of a courtly knight. In fact his character is full of negative stereotypes: in the French and German romances he consistently plays the role of the churl, the mocker, and the loser. The Welsh Arthurian tradition, on the other hand, knows of him as one of the greatest heroes, a potent and honorable warrior of Arthur. This paper analyzes differences between these models in order to ask whether such a clearly predetermined role can have an impact on the motivation of the figure as well as on that of the plot. Viewed in this way, Keie becomes one of the most complex characters found in Arthurian literature, one who even affects the action of the protagonists, even if his exceptional position remains erratic and ultimately unexplained.
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
