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

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.

2020 ◽  
Vol 8 (1) ◽  
pp. 107-127
Author(s):  
Susanne Hafner

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.


2009 ◽  
Vol 40 (2) ◽  
pp. 69-77
Author(s):  
Baptiste Franceschini

Résumé Chrétien de Troyes ouvre son Conte du Graal sur une étonnante métaphore de l’écrivain semeur en train de répandre ses graines romanesques. Cette représentation paysanne d’un auteur qui travaille le texte comme on travaillerait la terre permet alors de légitimer une écriture littéraire toujours susceptible, au Moyen Âge, de constituer un affront aux Écritures. En se peignant dans l’effort rustique, Chrétien de Troyes choisit donc de reconduire sa soumission, tant à l’ordre divin (le labeur est bien le destin de tout bon chrétien depuis le péché originel) qu’à la hiérarchie féodale où le fruit de l’activité n’est qu’une exigence du fief que le travailleur ne saurait réclamer.


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