Volume 139, Issue 4

The article focusses on Walther’s verses dedicated to the conflict betweeen Philipp of Schwaben and Otto IV. (both ›Philippstöne‹ and the ›Reichston‹). There is no evidence in the so called ›Hofwechselstrophe‹ (9 III) for Walther changing courts after the death of duke Friedrich of Austria in 1198. This verse might as well signify a change of lyrical topics from mourning to political support of Philipp according to the position of the new duke Leopold VI. So the verses refering to Philipp do not represent Staufen propaganda but can be regarded as parts of courtly communication (Strohschneider) in Vienna and classified more cautiously as ›Staufen friendly‹. The opposition between laity and clergy as a leading motive can be detected not only in the ›Kirchenschelte‹ (›scolding of the clergy‹) of ›Reichston‹ verse II but even in the so far enigmatic verse on frôuwe Bône (›Lady Bean‹, 8 III,1–14). This casts a new light on the lines dedicated to the orphan (›der weise‹) and the crown of the Holy Roman Empire. When postulating that the orphan should be put on Philipp’s head to finish imperial desaster that is caused by poor kings harassing the empire and so called zirkel (›circles‹), he does not refer to inferior forms of crowns but to the clergy allies supporting Otto. In contemporary latin monastic writing ›circle‹ and ›crown‹ are used as metaphors for the tonsure and its surrounding hairline. This fresh sight spares from auxiliary constructions concerning with Walther’s biography, the role of ›Sangspruch‹ in political conflict and to the use of crowns in the Middel Ages.

One of the characteristic features of Wolfram’s ›Parzival‹ is the narrative technique of temporarily holding back information. Based on Genette’s theory of narrative levels as well as Scheffel’s thoughts on self-reflexivity of literature and Weber’s definition of analytical narration, this paper tries to show that many of the narratives and speeches produced by characters in the novel mirror this narrative technique. Furthermore, it asks about explanations and intentions that are related to these narratives and speeches, about their (potential) effects on the protagonists and the audience, and about conclusions that can be drawn with regard to the poetological concept of the novel.

Amongst the rustic aggressions in Neidhart’s songs, the rape of Friderun’s Mirror is the one which has most attracted the attention of scholars. However, the act of an unnamed man treading on the skirt of his female dancing partner in Winter Song 33 is indicated by Neidhart himself as far more serious. This vestimentary scene represents an attack on the fragile order of the Minnesang.

›Der witzige Landstreicher‹, an early work in print by Hans Folz, is showing features of different literary genres, i. e. narrative, disputation and shrovetide play (Fastnachtspiel). Accordingly, it’s generic affiliation cannot be clearly determined. The generic hybridity of ›Der witzige Landstreicher‹ is amplified by remarkable medial aspects regarding the printing. This text is the first known print from the city of Nuremberg with a typographic dramatic format (Dramensatz), although it is not quite a dramatic text. Thus, this short text particularly makes comprehensible the generic permeability that is representing a characteristic feature of short german rhymed literature (Reimpaardichtung) in the late middle ages.