This is a substantial volume of thirty essays, mostly in German (just two in French), devoted to a wide range of aspects of the 'woman's voice' in the German Minnesang
, in the Galician-Portuguese lyric, and in a number of other relevant literary cultures (ranging from Ireland to Japan).
In our second segment, we turned to German courtly love lyric, or Minnesang
Criticism of the German Minnesang
is notoriously difficult because of the almost insuperable problems of medieval and modern reception; the modern reader (and the texts were not designed for eye-reading) is not only faced with a highly conventionalized set of ideas and indeed individual words, but is forced in most cases, in the absence of the music, to consider half an art only.
This concern penetrates even into the lexical sphere, where, on the evidence of the use of `the term ritter in early Minnesang
and in the Kaiserchronik' (among other factors), he warns `against seeing the German empire globally as always lagging behind France in the rise of knighthood' (p.
The Passau material is the most extensive, including in German not only a range of sermon collections, for example, but the Minnesang
of Reinmar and Walther, and most of the heroic epics of the high Middle Ages (Nibelungenlied, Kudrun, Dietrich epics).
206, 'secret', 'intimate', 'lack of public display'; 'personal/confidential') and equally a range of four meanings for tougen in Minnesang
The poet's self-defence (Parzival 114, 1-116,4) is interpreted (following Curschmann) as a championing of narrative poetry against Minnesang
It is, for example, largely such considerations that determine the differences between the Minnesang
editions of Tervooren, aimed primarily at specialists, and of Schweikle, aimed at a wider audience; or between the editions of Rechtsbucher prepared by the Germanist Schmidt-Wiegand and by the legal historian Munzel.
discussions of the relevance and validity of Minnesang
and in the introduction of