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Sängerliebe – Sängerkrieg

Lyrische Narrative im ästhetischen Gedächtnis des Mittelalters und der Neuzeit

Edited By Nikolas Immer and Cordula Kropik

Geschichten über die Liebe und den Streit mittelalterlicher Sänger haben eine lange Tradition. So berichten Dichter vom Mittelalter bis in die Gegenwart vom Tannhäuser im Venusberg, von Meistersängern in- und außerhalb Nürnbergs oder vom Sängerkrieg auf der Wartburg. Imaginationen lyrischer Handlungs- und Lebensweisen verdichten sich dabei zu einer spezifisch selbstbezogenen Reflexion über Kunst. Die Frage, inwiefern darin zugleich ein Phänomen ästhetischer Gedächtnisbildung vorliegt, bildet den Gegenstand des Sammelbandes. Er spannt den Bogen von den mittelalterlichen Textzeugen hin zu neuzeitlichen Adaptionen von der Romantik bis in die Postmoderne.

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Minne und Sang in lyrischen und narrativen Texten: Minnesängerballaden – Neithart Fuchs – Wartburgkrieg (Katharina Philipowski)

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Katharina Philipowski

Minne und Sang in lyrischen und narrativen Texten

Minnesängerballaden – Neithart Fuchs – Wartburgkrieg

Abstract: In courtly love songs, the first person singer (in the tradition of the songs of the Hohe Minne or German high courtly love tradition) is known to be a lover: his song is one of service and courtship; the singer sings because he is in love, and because he is in love, he sings, to be of service to his lady. However, the character of the singer, who sings out of love and courtship, was not adopted by narrative literature. Apparently this literary character features solely in lyrical texts. The singers who are the subjects of epic narratives (such as Volker in the Nibelungenlied and Horant in Kudrun and in Dukus Horant) were not lovers. And unlike those in courtly love songs, the characters in narrative literature who court a lady out of love and strive for her favour (such as Mauritius von Craûn) are not singers and do not do these things by singing or through song. Apparently songs of love – not just singing of love but singing out of love, which in courtly love songs is the reason for poetry and for song – lost significance when songs were no longer performed in front of an audience. On the other hand, the fact that there was no narration about singing out of love is also partly due to the transition towards narrative in lyrical texts, a...

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