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Hartmann von Aue (c. 1170&–1215) is universally recognized as the first medieval German poet to create world-class literature. He crafted German into a language of refined literary expression that paved the way for writers such as Gottfried von Strassburg, Walther von der Vogelweide, and Wolfram von Eschenbach. This volume presents the English reader for the first time with the complete works of Hartmann in readable, idiomatic English. Hartmann's literary efforts cover all the major genres and themes of medieval courtly literature. His Arthurian romances, Erec and Iwein, which he modeled after Chr&étien de Troyes, introduced the Arthurian world to German audiences and set the standard for later German writers. His lyric poetry treats many aspects of courtly love, including fine examples of the crusading song. His dialogue on love delineates the theory of courtly relationships between the sexes and the quandary the lover experiences. His verse novellas Gregorius and Poor Heinrich transcend the world of mere human dimensions and examine the place and duties of the human in the divine scheme of things. Longfellow would later use Poor Heinrich in his Golden Legend. Arthurian Romances, Tales, and Lyric Poetry is a major work destined to place Hartmann at the center of medieval courtly literature for English readers.
Few stories were as widely known during the Middle Ages as the account of Iwein and Laudine, which appeared in French, Welsh, English, Norse, Swedish, Danish, Icelandic, and two German variants. The older German version, that by the Swabian nobleman Hartmann von Aue, won instant popularity and became a model of form, style, and language for the many courtly epics which his countrymen composed up to the beginning of the modern period. In recent years, his Iwein has enjoyed a remarkable revival among medieval scholars as traditional interpretations have been challenged by new ones.
This study provides a much needed re-evaluation of the role of pain and suffering in Hartmann von Aue. By critically and carefully combining traditional philology with modern theoretical analysis, drawing on theorists such as Mary Douglas, Michele Foucault, Norbert Elias and Elaine Scarry, the author shows how the 'body' is symbolically structured in Hartmann's work to create a distinctly medieval signification system of pain. This system is analysed through an examination of the physical body and social body of the court, and the harmonious and refined image of courtly society as depicted in Hartmann's work where it is shown that the very ideological system that informs courtly life causes suffering in both the physical and social bodies.
Originally published in 1955, this rendering in rhyming couplets was the first English translation to appear of the medieval Oedipus legend of Gregorius, made known to readers by Thomas Mann in his novel The Holy Sinner (1951). The introduction situates Hartmann's poem in the pantheon of Gregorius legends by writers from Sophocles to Mann.
This novel by Hartmann tells the story of Gregorius, a medieval scholar who becomes disillusioned with his life and embarks on a journey to find meaning and purpose. Along the way he encounters various challenges and trials, and ultimately discovers a new perspective on life and learning. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Drawing upon the most current methodologies, the essays in this book pursue the multifarious functions of end-times in medieval German texts.
First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
"In the course of perhaps twenty-five years of creative productivity (ca. 1180-ca. 1205), Hartmann von Aue authored a dispute about love between the body and the heart, Die Klage (ca. 1180-85), numerous songs of courtly love, crusading songs, and most likely took part in a Crusade himself." "The essays in this volume, written by scholars from North America and Europe, offer insight into many aspects of Hartmann's oeuvre, including the medieval and modern visual and literary reception of his works. The volume also offers considerations of Hartmann and Chretien; Hartmann's putative theological background and the influence of the Bible on his tales; the reflection of his medical knowledge in Der arme Heinrich and Iwein; and a complete survey of his lyric production. Newer avenues of research are also presented, with essays on issues of gender and on the role of pain as a constitutive part of the courtly experience."--Jacket.
This volume is a guide to medieval German literature from its beginnings in the eighth century to the fourteenth century. It will escort the motivated student and colleague with interest in the European Middle Ages but no expertise in older German languages. The chapter authors, all internationally-known scholars, were given the freedom to arrange their chapters as they felt most appropriate, including the question of the terminus ad quem. Chapters deal either with a chronological period, e.g. 13th century, or with specific genres, eg. drama. In addition, chapters both on the historical epoch and on the development of the German language in the medieval period have been included. In general, historical and cultural topics play an important role in each chapter.
The eleven chapters in this international volume draw on a variety of theoretical and methodological approaches to focus our attention on medieval and early modern things (ca. 700–1600). The range of things includes actual objects (the Altenburg Crucifixion, a copy of Hieronymus Brunschwig’s Liber de arte distillandi, a pilgrim’s letter), imagined objects (a prayed cloak for the Virgin Mary), and narrative objects in texts (the Alliterative Morte Arthure, the Ordene de Chevalerie, Hartmann von Aue’s Erec, Heinrich of Neustadt’s Apollonius of Tyre, Luís de Camões’s Os Lusíadas, and the vita of Saint Guthlac). Each in its own way, the papers consider how things do what they do in texts and art, often foregrounding the intersection between the material and the immaterial by exploring such questions as how things act, how they express power, and how texts and images represent them. Medieval and early modern things are repeatedly shown to be more than symbolic or passive, they are agentive and determinative in both their intra- and extradiegetic worlds. The things that are addressed in this volume are varied and are embedded, or entangled, in different contexts and societies, and yet they share a concerted engagement in human life.