Wolfram von Eschenbach, Gottfried von Strassburg, and the Politics of Literary Adaptation: The Grail and Tristan Romances and the Court of Otto IV (1198-1218)

2019 ◽  
pp. 213-240
Author(s):  
Adrian Stevens
Keyword(s):  
Wolfram Von Eschenbach ◽  
Gottfried Von Strassburg ◽  
Literary Adaptation

Der ›Weg‹ der Erzählung

2020 ◽  
Vol 142 (3) ◽  
pp. 330-353
Author(s):  
Christoph Huber
Keyword(s):  
Wolfram Von Eschenbach ◽  
Gottfried Von Strassburg ◽  
Hartmann Von Aue ◽  
Courtly Romance

AbstractHow do narrators of courtly romance use the semantics of ›Weg‹ (path, journey)? Building on numerous publications on the Weg-topic, this study ›The Path of Narration. Observations on Hartmann von Aue and Courtly Literature‹ discusses how authors, particularly Hartmann von Aue, use ›Weg‹ as code for storytelling. This can be linked to forms of semantic usage which reflect the process of reception, particularly in the case of Wolfram von Eschenbach, and those which describe a change in the semantics of value, particularly in the case of Gottfried von Straßburg.

Becoming a Global Producer: Creative and Industrial Change at Post-Studiocanal RED

2019 ◽  
Vol 16 (3) ◽  
pp. 305-326
Author(s):  
Christopher Meir
Keyword(s):  
Video On Demand ◽  
Global Strategy ◽  
Industrial Change ◽  
Export Markets ◽  
Literary Adaptation ◽  
The North ◽  
Industrial Landscape ◽  
Production And Distribution ◽  
Critical Scrutiny ◽  
The Uk

Up until late 2013, RED Production was considered one of the UK's premier independent producers. In December of that year, 51 per cent of the company was sold to Studiocanal, the production and distribution arm of France's Canal+, a pay-television provider with an increasingly global orientation. Although the UK trade press has continued to label RED as an ‘indie’, this article argues that the investment by a much larger multinational corporation marks a watershed moment in RED's history. While the company's trajectory since the takeover shows many artistic continuities with the previous fifteen years – including continuing collaboration with key writers and a dedication to shooting and setting stories in the north of England – there have also been significant changes to some of the company's long-standing practices that require critical scrutiny. The article will document and analyse a number of these, taking as case studies the series created after the investment and distributed by Studiocanal as well as a number of projects reported to be in development since that point. Collectively these changes have seen RED shift from what Andrew Spicer and Steve Presence have called its ‘rooted regionalism’ to being a more globally oriented producer, a change apparent in the settings of some of its shows. It has also seen the company embrace artistic practices – such as literary adaptation and the remaking of existing series and films – that it had long eschewed. The article seeks to explore what has been gained and lost by RED as it has embarked on this global strategy, a strategy that becomes all the more urgent as the industrial landscape of British television is transformed by the importance of international export markets and the growing power of subscription video on demand (SVOD) services such as Amazon Prime and Netflix.

‘He ne wiste nother of evyll ne gude’: A Prelapsarian Perceval

2020 ◽  
Vol 8 (1) ◽  
pp. 107-127
Author(s):  
Susanne Hafner
Keyword(s):  
Middle English ◽  
Sexual Desire ◽  
Chretien De Troyes ◽  
Wolfram Von Eschenbach ◽  
English Version ◽  
Middle English Romance ◽  
Chrétien De Troyes

AbstractDeparting from the observation that the Middle English romance of Sir Perceval of Galles quotes from Genesis at two crucial moments, this study provides a coherent reading of the text, explaining some of its idiosyncrasies and triangulating it with the versions of Chrétien de Troyes and Wolfram von Eschenbach. What distinguishes the Middle English version from the continental texts are its purposeful absences, i. e. that which the author chooses to abbreviate or leave out altogether. The result is the story of a prelapsarian creature who stumbles through an Edenic landscape where time and mortality have been suspended and individual culpability does not exist. Sir Perceval’s non-existent biblical knowledge, blocked by his mother and ultimately brought to its end by a literal fall from his horse, leaves him invincible, ungendered and immortal. It also serves to explain his unapologetic violence as well as his complete lack of sexual desire. This bold experiment cannot last – Sir Perceval does eventually discover knighthood, masculinity and mortality. Unfortunately, these three are inseparably linked: being a knight, being a man and being dead are one and the same thing in Sir Perceval’s universe.

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