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Ulrich von Liechtenstein's extraordinary account of his adventures as a knight-errant is one of the most vivid images of chivalric life. Ulrich von Liechtenstein's extraordinary account of his adventures as a knight-errant is one of the most vivid images of chivalric life to have come down to us. His knightly autobiography was written in the mid-thirteenth century, and gives an account of the "journey of Venus" which he undertook in 1226 in honour of his lady, in which he claimed to have broken 307 spears in jousts against all comers in the space of a month. Some of it is obviously quietlyexaggerated, written for his friends' entertainment many years later, and he is not above a sly dig at the conventions of courtly love, but he completely accepts its basic ideas. It is full of lively episodes and good stories, aswell as verses in honour of his lady; if the tale has been polished up for effect, it is nonetheless a thoroughly entertaining account of how a knight saw his ideal career in the jousting field. If the name is unexpectedly familiar to modern readers, it is because it was borrowed by the hero of the film A Knight's Tale; Ulrich would have certainly approved of his exploits. Introduction by KELLY DEVRIES.
New essays on the first flowering of German literature, in the High Middle Ages and especially during the period 1180-1230.
On the great influence of a valiant lord: "The companions, who see that good warriors are honored by the great lords for their prowess, become more determined to attain this level of prowess." On the lady who sees her knight honored: "All of this makes the noble lady rejoice greatly within herself at the fact that she has set her mind and heart on loving and helping to make such a good knight or good man-at-arms." On the worthiest amusements: "The best pastime of all is to be often in good company, far from unworthy men and from unworthy activities from which no good can come." Enter the real world of knights and their code of ethics and behavior. Read how an aspiring knight of the fourteenth century would conduct himself and learn what he would have needed to know when traveling, fighting, appearing in court, and engaging fellow knights. Composed at the height of the Hundred Years War by Geoffroi de Charny, one of the most respected knights of his age, A Knight's Own Book of Chivalry was designed as a guide for members of the Company of the Star, an order created by Jean II of France in 1352 to rival the English Order of the Garter. This is the most authentic and complete manual on the day-to-day life of the knight that has survived the centuries, and this edition contains a specially commissioned introduction from historian Richard W. Kaeuper that gives the history of both the book and its author, who, among his other achievements, was the original owner of the Shroud of Turin.
A comparative reader that offers a dynamic balance of primary and secondary sources, Worlds of History invites students to make connections across cultures while teaching them to think like historians. The 90 readings in Volume 1 and 94 readings in Volume 2 combine global coverage, topical balance, and new scholarship, expanding on the features of Kevin Reilly's best-selling Readings in World Civilizations.
In a crucial shift within posthumanistic media studies, Bernhard Siegert dissolves the concept of media into a network of operations that reproduce, displace, process, and reflect the distinctions fundamental for a given culture. Cultural Techniques aims to forget our traditional understanding of media so as to redefine the concept through something more fundamental than the empiricist study of a medium’s individual or collective uses or of its cultural semantics or aesthetics. Rather, Siegert seeks to relocate media and culture on a level where the distinctions between object and performance, matter and form, human and nonhuman, sign and channel, the symbolic and the real are still in the process of becoming. The result is to turn ontology into a domain of all that is meant in German by the word Kultur. Cultural techniques comprise not only self-referential symbolic practices like reading, writing, counting, or image-making. The analysis of artifacts as cultural techniques emphasizes their ontological status as “in-betweens,” shifting from firstorder to second-order techniques, from the technical to the artistic, from object to sign, from the natural to the cultural, from the operational to the representational. Cultural Techniques ranges from seafaring, drafting, and eating to the production of the sign-signaldistinction in old and new media, to the reproduction of anthropological difference, to the study of trompe-l’oeils, grids, registers, and doors. Throughout, Siegert addresses fundamental questions of how ontological distinctions can be replaced by chains of operations that process those alleged ontological distinctions within the ontic. Grounding posthumanist theory both historically and technically, this book opens up a crucial dialogue between new German media theory and American postcybernetic discourses.
Offers a new take on the identities and life histories of medieval people, in their multi-layered and sometimes contradictory dimensions.
"The story of one of the greatest-ever battles, a few men under the Knights of St John against a huge Turkish armada, written as witnessed by a participating soldier"--Provided by publisher.
Beards and Texts explores the literary portrayal of beards in medieval German texts from the mid-twelfth to the early sixteenth centuries. It argues that as the pre-eminent symbol for masculinity the beard played a distinctive role throughout the Middle Ages in literary discussions of such major themes as majesty and humanity. At the same time beards served as an important point of reference in didactic poetry concerned with wisdom, teaching and learning, and in comedic texts that were designed to make their audiences laugh, not least by submitting various figure-types to the indignity of having their beards manhandled. Four main chapters each offer a reading of a work or poetic tradition of particular significance (Pfaffe Konrad’s Rolandslied; Wolfram von Eschenbach’s Willehalm; ‘Sangspruchdichtung’; Heinrich Wittenwiler’s Ring), before examining cognate material of various kinds, including sources or later versions of the same story, manuscript variants and miniatures and further relevant beard-motifs from the same period. The book concludes by reviewing the portrayal of Jesus in vernacular German literature, which represents a special test-case in the literary history of beards. As the first study of its kind in medieval German studies, this investigation submits beard-motifs to sustained and detailed analysis in order to shed light both on medieval poetic techniques and the normative construction of masculinity in a wide range of literary genres.