Volume 134, Issue 4

The article explores regular patterns of interaction between metaphor and metonymy in Skaldic poetry. The author identifies a basic syntactic rule that is imperative for the decoding of the kenning; it states that the determiner of the kenning always precedes the base word, not vice versa, e. g. vinda mundlaug ›the winds’ washbasin‹ (in Bragi’s ›Ragnarsdrápa‹) or hríðar naust ›the storm’s boathouse‹ (in ›Harmsól‹, Str. 23) both referring to the sky. Drawing on modern cognitive and pragmatic approaches to metaphor and symbol, the author identifies an entrenched decoding path with a metonymical extension providing the basis for a metaphorical leap ‒ much in the sense of Heusler’s »Metapher mit Ablenkung«. This interaction process, it iss argued, provides a cognitive path that eases the reception of skaldic verse and hence compensates for formal and structural complexity.

The mission of the twelve apostles is a key scene in medieval literature and has an important role when it comes to performance in liturgical dramas. The scenes depicting the mission do not focus on transcultural interactions with the Jews and heathens and are therefore inconsistent with the modern definition of migration. Using variable theatrical and liturgical practices of producing presence across all borders of time and space, the dramas succeed to transfer the apostles into a medieval town, and to unite the spectators with the first followers and missionaries of Jesus and bring them into a consistent Christianity.

The medieval ›Märe‹ is known for its special ›Typik‹ and so far no particular attention has been paid to the prevalence and effects of time and space in the texts. This article focuses on the narration and perception of time- and space-arrangements in texts of Heinrich Kaufringer. In view of how Kaufringer acts as a narrative director giving time and space a special integrative function, his cyclic texts ›Die Suche nach dem glücklichen Ehepaar‹ and ›Drei listige Frauen‹ are discussed in detail. Interestingly, a narrative strategy of synchronization and poetic compression creates multifaceted possibilities of actions here that could be happening whereas the common strategy of didactic narration seems to become less important. These results could contribute to a better understanding of the effects and possible intentions of choosing time- and space-settings and especially narrating simultaneity in medieval literature.