Dennis Howard Green Libros

This book offers a distinctive and accessible approach to the earliest encounters of the barbarian societies of Northern Europe with classical antiquity and with early Christianity. It brings together linguistic evidence from across Europe and dating from before Caesar to about 900 AD, to shed light on important aspects of Germanic culture. It shows how historical phonology and semantics, often avoided by nonspecialists, can provide important clues for historians and archaeologists of the period. Likewise, it demonstrates that philologists and linguists ignore historical evidence at their peril.

In contrast to the widespread view that the Middle Ages were a static, unchanging period in which attitudes to women were uniformly negative, D. H. Green argues that around 1200 the conventional relationship between men and women was subject to significant challenge through discussions in the vernacular literature of the period. Hitherto scholarly interest in gender relations in such literature has largely focused on French romance or on literature in English from a later period. By turning the focus on the rich material to be garnered from Germany - the romances Erec, Tristan and Parzival - Professor Green shows how some vernacular writers devised methods to debate and challenge the undoubted antifeminism of the day by presenting a Utopian model, supported by a revision of views by the Church, to contrast with contemporary practice.

This book deals with the first 500 years of German literature (800-1300) and how it was received by contemporaries. Covering the whole spectrum of genres, from dance-songs to liturgy, heroic epics to drama, it explores which works were meant to be recited to listeners, which were destined for the individual reader, and which anticipated a twofold reception. It emphasizes this third possibility, seeing it as an example of the bicultural world of the Middle Ages, combining orality with writing, illiteracy with literacy, vernacular with Latin, lay with clerical.

The book explores the application of irony within medieval literature, addressing a gap in scholarly analysis despite the growing interest in irony in modern literary studies. It aims to provide a comprehensive examination of how irony functions in medieval texts, contributing to a deeper understanding of the genre and its nuances. By focusing on this underexplored area, the work seeks to enrich the discourse surrounding medieval literature and its relationship with irony.

The exploration of recognition and non-recognition in Wolfram von Eschenbach's Parzival delves into the significance of identity and social dynamics within the narrative. The analysis highlights how these themes influence character development and the quest for understanding one's place in the world. Through a close reading of the text, the book uncovers the intricate relationships and moral implications tied to the act of recognition, shedding light on the broader philosophical questions posed by the story.

Mit Beiträgen folgender Autoren: Max Wehrli — Dennis H. Green — Leslie Peter Johnson. — Paul Gerhard Schmid — Peter Lebrecht Schmidt — Agostino Sottili — Walter Ludwig — Lawrence V. Ryan — Wilfried Barner — Jean-Claude Margolin — Philip McNai — Arthur Henkel — Uwe Ruberg — Willem Vermeer — Willem Pieter Gerritsen — Fidel Rädle — Jörg-Ulrich Fechner — Günter Hess — Ian D. McFarlane — Christian Wagenknech — Ferdinand van Ingen — Joseph Leighton — Elida Maria Szarota — Martin Bircher — Peter Rusterholz — Kenneth G. Knight — Robert Terence Llewellyn — Eberhard Lämmert — Peter Wapnewsky — Roger Paulin — Peter Kenneth King — Eberhard Mannack — Dieter Wuttke — August L. Sötemann — Peter Fox

The essays included in this volume arise out of the authors' joint concern, over a long period, with the problems posed by research on and teaching about Wolfram von Eschenbach. Since teaching is still largely concentrated on one of his works, «Parzival», all the essays but one are devoted to this central work. Each essay was conceived separately and independently, but together they illustrate the unity in diversity which is so characteristic of Wolfram's work.