scholarly journals A letra e a voz em três romances do Graal

Signo ◽  
2014 ◽  
Vol 39 (66) ◽  
pp. 100
Author(s):  
Demétrio Alves Paz
Keyword(s):  
Chretien De Troyes ◽  
Wolfram Von Eschenbach ◽  
Chrétien De Troyes

O presente ensaio tem por objetivo analisar o narrador e os personagens em três romances de cavalaria que tratam do Graal: Perceval, de Chrétien de Troyes; Parsifal, de Wolfram von Eschenbach e A Demanda do Santo Graal, texto anônimo português. Após a análise do contexto de produção das obras, utilizam-se as ideias de Paul Zumthor e de Walter Benjamim a respeito da relação entre oralidade e escrita para comentar o narrador presente nos romances. Depois, investigam-se os personagens de acordo com a tipologia proposta por Antonio Prieto. Os dois primeiros romances que tratam do Graal estão mais próximos não só da oralidade como também do mito, ao passo que no texto português há um controle maior da narração devido ao seu caráter religioso.

‘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.

Fabian Sietz, Erzählstrategien im Rappolsteiner Parzifal. Zyklizität als Kohährenzprinzip. Studien zur historischen Poetik 25. Heidelberg: Universitätsverlag Winter, 2017, 328 S.

Mediaevistik ◽  
2018 ◽  
Vol 31 (1) ◽  
pp. 480-481
Author(s):  
Adam Oberlin
Keyword(s):  
Chretien De Troyes ◽  
Wolfram Von Eschenbach ◽  
Narrative Strategies ◽  
Chrétien De Troyes ◽  
Link Type ◽  
Religious Writings ◽  
Conte Du Graal

Wolfram von Eschenbach’s Parzival survives in nearly 90 codices and manuscript fragments, the latter as small as portions of a single folio and the former as Sammelhandschriften with several hundred extant folia. One example of a longer ms. among them is Cod. Sang. 857, also known as the Nibelungenlied B ms. or St. Galler Epenhandschrift, which includes as complete texts or fragments Parzival, Nibelungenlied, Diu Klage, Karl der Große (Stricker), Willehalm (also Wolfram von Eschenbach), and a few other shorter poems and religious writings. Another example is the object of research in Fabian Sietz’s wide-ranging study of narrative strategies, <?page nr="481"?>namely Cod. Donaueschingen 97 in the Karlsruhe Landesbibliothek – the remarkably complete and well-preserved Rappolsteiner Parzival (the codex has been digitized and can be found here: <ext-link ext-link-type="uri" xlink:href="https://digital.blb-karlsruhe.de/id/101664">https://digital.blb-karlsruhe.de/id/101664</ext-link>). Unlike the St. Gall ms., the Rappolsteiner Parzival includes not only Wolfram’s text but also a continuation adapted from Chrétien de Troyes’ Conte du Graal.

Folkloristes et médiévistes face au texte littéraire : problèmes de méthode

1979 ◽  
Vol 34 (5) ◽  
pp. 943-955 ◽  
Author(s):  
Bruce A. Rosenberg ◽  
D. Laurent ◽  
R. J. Cormier
Keyword(s):  
Marie De France ◽  
Chretien De Troyes ◽  
Chrétien De Troyes

La littérature médiévale en langue vulgaire est plus largement imprégnée d'éléments folkloriques que celle de n'importe quelle autre période. Les oeuvres savantes — écrits philosophiques, théologiques ou autres — étaient toujours en latin (les sermons, toutefois, étaient émaillés de proverbes, de récits facétieux ou de légendes populaires). Les récits en langue vulgaire, eux, ont souvent pour cadre le monde merveilleux du conte. Même les romans courtois, tels ceux de Chrétien de Troyes, ou les lais de Marie de France, les Nouvelles de Boccace et les Contes de Canterbury de Chaucer sont étonnamment proches des contes populaires dont ils dérivent ou qui, à l'inverse, en dérivent. Magie, croyances et savoir populaires sont partout. Théoriquement, donc, le médiéviste devrait connaître le folklore au moins aussi bien que le latin, mais, bien souvent, tel n'est pas le cas. Joseph Bédier tournait en dérision, à cause sans doute de leurs excès, ses collègues (les « folkloristes ») qui étudiaient les origines du conte populaire. Mais, ce faisant, il a retardé de plusieurs décennies le développement des études de folklore en France.

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