Jutta Eming – författare

More than any other secular story of the Middle Ages, the tale of Tristan and Isolde fascinated its audience. Adaptations in poetry, prose, and drama were widespread in western European vernacular languages. Visual portrayals of the story appear not only in manuscripts and printed books but in individual pictures and pictorial narratives, and on an amazing array of objects including stained glass, wall paintings, tiles, tapestries, ivory boxes, combs, mirrors, shoes, and misericords. The pan-European and cross-media nature of the surviving medieval evidence is not adequately reflected in current Tristan scholarship, which largely follows disciplinary and linguistic lines. The contributors to Visuality and Materiality in the Story of Tristan and Isolde seek to address this problem by opening a cross-disciplinary dialogue and by proposing a new set of intellectual coordinates—the concepts of materiality and visuality—without losing sight of the historical specificity or the aesthetic character of individual works of art and literature. Their theoretical paradigm allows them to survey the richness of the surviving evidence from a variety of disciplinary approaches, while offering new perspectives on the nature of representation in medieval culture. Enriched by numerous illustrations, this volume is an important examination of the story of Tristan and Isolde in the European context of its visual and textual transmission.

More than any other secular story of the Middle Ages, the tale of Tristan and Isolde fascinated its audience. Adaptations in poetry, prose, and drama were widespread in western European vernacular languages. Visual portrayals of the story appear not only in manuscripts and printed books but in individual pictures and pictorial narratives, and on an amazing array of objects including stained glass, wall paintings, tiles, tapestries, ivory boxes, combs, mirrors, shoes, and misericords. The pan-European and cross-media nature of the surviving medieval evidence is not adequately reflected in current Tristan scholarship, which largely follows disciplinary and linguistic lines. The contributors to Visuality and Materiality in the Story of Tristan and Isolde seek to address this problem by opening a cross-disciplinary dialogue and by proposing a new set of intellectual coordinates—the concepts of materiality and visuality—without losing sight of the historical specificity or the aesthetic character of individual works of art and literature. Their theoretical paradigm allows them to survey the richness of the surviving evidence from a variety of disciplinary approaches, while offering new perspectives on the nature of representation in medieval culture. Enriched by numerous illustrations, this volume is an important examination of the story of Tristan and Isolde in the European context of its visual and textual transmission.

Anlass und Gegenstand des Bandes ist der Versuch einer vorläufigen Bilanz: Seit etwa Mitte der 1980er Jahre ist die Forschung zum Liebes- und Abenteuerroman, einer von der hellenistischen Antike bis in die Frühe Neuzeit höchst populären, von den Philologien jedoch lange vernachlässigten Gattung, weit voran geschritten. Bislang wurde die Arbeit angrenzender Disziplinen allerdings nur vereinzelt zur Kenntnis genommen. Deshalb werden erstmals Fragestellungen, methodische Ansätze und Probleme der Forschung auf internationaler und interdisziplinärer Basis zusammen geführt, die Breite und Kontinuität der europäischen Überlieferung zum Gegenstand gemacht und es wird versucht, Perspektiven künftiger Forschung zu bestimmen. Aus den Beiträgen geht hervor, dass inzwischen ausreichend literatur- und kulturwissenschaftliche Paradigmen zur Verfügung stehen, welche über das basale Erzählschema der Trennung und Vereinigung eines Liebespaares hinaus gattungshafte Konstituenten erfassen können. Dazu gehören neben narratologischen Methoden und Theorien zu Raum- und Zeitkonstruktionen auch emotionsgeschichtliche Ansätze. Die Vielfalt der europäischen Filiationen bis ins 18. Jahrhundert hinein wird ebenso exemplarisch wie Verbindungen zwischen mittelalterlichen Vertretern, antiken Modellen und byzantinischer Überlieferung. Der Band vermittelt damit einen repräsentativen Einblick in eine überwältigend umfang- und aspektreiche Gattungsgeschichte, durch die weitere Forschungen angeregt werden können. Während mit ''Hybridität'' ein mittlerweile etablierter Begriff für die genretypische Mischung aus Gattungs- und Erzählmustern im Titel genannt ist, verweist das Konzept des ästhetischen ''Spiels'' auf die kreativen Potentiale der Gattung, die es vielfach erst noch zu erschließen gilt.

The forms of expression of the emotions in medieval literature are subject to different social, communicative, and aesthetic conditions than those obtaining in the modern age. Using exemplars of the sentimental medieval love romance, this study draws out processes of historical change in the conventions governing the expression of emotions.

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.

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.

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.

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.

From the viewpoint of emotion theory, Gottfried von Straßburg''s Tristan is especially significant not only because of its emphasis on emotions within the context of conflicts, decisions and interactions, but also because of the different ways in which emotions are portrayed. These forms of organizing the textual material will be conceptualized as "paradigmatic poetics." Due to the rich variety of emotions represented in this narrative, Tristan and Isolde is also of special interest for research into the broader history of representations of emotions in medieval fictional literature. In light of recent theories on emotionality, performativity, and narratology, the monograph aims at an reassessment of central episodes of medieval Tristan romances, in particular German version. It is a comparative study, which uses historical as well as modern approaches to emotions to reveal new insights into this classic text and its surrounding literary traditions. The concept of performativity has the fundamental conceptual advantage of allowing the pragmatic functions of emotions to be treated on different levels. This includes the study of how emotion is related to the body as well as to language, and of the social dynamics associated with emotions.

Thema dieses Bandes sind Abenteuernarrative. Sie beschreiben eine universale Form der episodenhaften Aneignung von Welt, die in Kombination mit wechselnden Erzähl- und Gattungsmustern zugleich historisch stark variiert.Abenteuer entstehen erst dadurch, dass von ihnen erzählt wird. Als Narrativ ist das Abenteuerliche in zahlreichen Textformen und Diskursen vertreten: als Roman oder als Abenteuersequenz in einem Text, der ganz anderen Genremustern folgt, als abenteuerliche Stilisierung der Welt in Warenästhetik und Massenmedien bis hin zu alltäglichen Formen der Kommunikation, die Momente des Erlebens stilisieren. Dieser Vielfalt des Abenteuerlichen geht der Band exemplarisch nach und betrachtet sie vom Mittelalter zur Gegenwart, vom Buch zum Computerspiel, von der Literatur zur Poetik.This volume deals with stories of adventure. They describe a universal form of episodic appropriation of the world, which, at the same time, show great historical variation in combination with changing patterns of narratives and genres. Adventures only come alive once narrated. As a narrative, adventure is represented in numerous text forms and discourses: as a novel or as an adventure sequence in a text that subscribes to entirely different genres, as an adventurous stylisation of the world in commodity aesthetics and mass media up to everyday forms of communication that stylise certain experiential moments. Such diversity of the adventuresome is exemplified in this book by taking a closer look at this diversity from the Middle Ages up to the present day, from books to computer games, from literature to poetics.

Der Band versammelt aktuelle mediävistische Forschungsansätze aus den Bereichen der Gender Studies, der Queer Studies und der Intersektionalitätsforschung. Der Horizont relevanter Fragestellungen, die sich mit diesen Theoriebildungen in den letzten Jahren und Jahrzehnten ergeben haben, ist weit gespannt. Die vorliegenden Beiträge prägt eine doppelte Agenda: einerseits die Fortschreibung der traditionsreichen Gender Studies in Auseinandersetzung mit den neuen Ansätzen, andererseits die Öffnung des Forschungsfelds in die neuen Richtungen mit dem Ziel, eine möglichst umfassende Auseinandersetzung mit Differenzlogiken und -kategorien der mittelalterlichen Literatur zu ermöglichen.This volume presents contemporary scholarly approaches from the fields of Gender Studies, Queer Studies, and Intersectionality from a medievalist perspective. These approaches have engendered a particularly broad range of research questions in recent decades. Therefore, the contributions take on a two-fold agenda: they seek to both reassess Gender Studies in the light of newer methodological frameworks, and to facilitate new lines of enquiry when investigating concepts of difference and identity in medieval and early modern literatures.

Die Konstruktion und Darstellung einander überkreuzender Zeitlichkeiten ist nicht erst in der Moderne ein wesentliches Merkmal von Kunst und Literatur. Texte, Praktiken und Artefakte sind auch in Antike, Mittelalter und Früher Neuzeit vielfach durch komplex verschaltete zeitliche Logiken geprägt. Die hier versammelten Beiträge befassen sich mit solchen Phänomenen in künstlerischen Entwürfen von Zeit und Zeitlichkeit sowie in Epochenbildungen und Rezeptionsprozessen. Aus der Perspektive verschiedener Disziplinen nehmen die Autor*innen das Wechselspiel zwischen zeitlichen und ästhetischen Phänomenen in den Blick und widmen sich damit einem in dieser Hinsicht bislang vernachlässigten Bereich vormoderner Kunst und Kultur.The construction and representation of criss-crossing temporalities has not only been an essential characteristic of art and literature in Modern Times. In Ancient Times, the Middle Ages and the Early Modern Times writings, practices and artefacts were frequently marked by complex interconnected temporal logics. The contributions in this book not only analyse such phenomena in artistic designs of time and temporality but also in epoch formations and reception processes. From the perspective of various disciplines, the authors examine the interplay between temporal and aesthetic phenomena and thus devote themselves to a so far neglected part of pre-modern art and culture.