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Department of Modern Languages
Society for
Medieval German Studies Newsletter
and Reviews
Nr. 18, Spring 2004
Table
of Contents
Dear Friends and Colleagues,
We are pleased to inform you of the five sessions on “New
Research in Medieval German Studies” granted to SMGS
for Kalamazoo 2004. It is our hope that the “New Books
Round Table” will again provide an interesting evening
program to discuss a new contribution to our field. This year’s
book will be Speaking in a Medieval World by Jean Godsall-Myers,
Leiden, Brill 2003.
After the New Research IV session on Friday afternoon, 7 May,
there will a brief business meeting to reflect on this past
year’s activities and decide the course that SMGS will
take during the coming year. SMGS was again successful in having
all requested sessions and the “New Books Round Table” approved
in Kalamazoo for 2004. The four sessions on “New Research
in Medieval German Studies” are as follows:
New Research in Medieval German Studies I
Organizer: Alexandra Sterling-Hellenbrand (Appalachian State University)
Presider: Jean Godsall-Myers (Widener University)
1) “Looking at Language: The Subject of Minne in Morungen
XXXII”
Josh Dittrich (Cornell University)
2) “Mannes Reht: Feudal Metaphor and Erotic Ambivalence in Minnesang”
Markus Stock (Cornell University)
3) “Borrowing, Appropriation, and Authenticity:
Walther’s ‘Early’ Song, ‘Maniger Frâget, Waz Ich
Klage’ (L.13.33)”
Arthur Gross (Cornell University)
[Session 38, Schneider 1355, Thursday, 6 May, 10 a.m.]
New Research in Medieval German Studies II
Organizer: Alexandra Sterling-Hellenbrand (Appalachian State University)
Presider: Robert Sullivan (The University of Massachusetts-Amherst)
1) “ ‘Swer Die Burc Worhte / Der Zierte Si mit Sinnen’: the
Courtly Poet as Architect”
Scott E. Pincikowski (Hood College)
2) “Layers of Meaning: Space and Place in Walther’s Unter der Linden
and Kiefer’s Gebrochen Blumen und Gras”
Rasma Lazda (University of Alabama)
3) “Nachhallen and (Re)composition:
On Bach as an Interpreter of the Rhineland Mystics”
Rebecca LR Garber (Independent Scholar)
[Session 236 Sangren 2301, Friday, 7 May, 10 a.m.]
New Research in Medieval German Studies III
Organizer: Alexandra Sterling-Hellenbrand (Appalachian State
University)
Presider: Ernst Ralf Hintz (Fort Hays State University)
1) “ ‘Dâ Vor Was Si Ritterlîch’:
Herzeloyde;s Nightmare in Relation to Astonishment”
Carola Dwyer (University of Illinois-Urbana-Champaign)
2) “Performative Sex and Corporeal Invasions in Moriz von Craun”
Brikena Ribaj (University of Utah)
[Session 295 Sangren 2210, Friday, 7 May, 1:30 p.m.]
New Research in Medieval German Studies IV
Organizer & Presider: Alexandra Sterling-Hellenbrand (Appalachian
State University)
1) “Rüdiger und Rorty: Zur Kontingenz von Sprache
und Ethos im Nibelungenlied”
Bastian Quindt (University of Alabama)
2) “ ‘Ez Het ein Pfaffe Gemeistert Dar’: Ekphrasis
and Integration in Wirnt von
Gravenberg’s Wigalois”
James H. Brown (University of North Carolina–Chapel Hill)
3) “The Chivalric Art: German Martial Arts Treatises of the Middle Ages
and Renaissance”
Jeffrey Forgeng, (Higgins Armory Museum/Worcester Polytechnic Institute)
[Session 355 Sangren 2210, Friday, 7 May, 3: 30 p.m.]
A brief SMGS Business meeting to follow session IV – all are invited.
On behalf of SMGS, I would like to thank all who submitted abstracts for consideration
by our Executive Committee. There were a number of excellent abstracts that
regrettably could not be included for thematic reasons, date of submission,
and the consensus from our Business Meeting to limit sessions to three papers
each. Abstracts that cannot be added to the SMGS program are recommended for
other sessions.
New Books Roundtable: Speaking in the Medieval world
This well-received event gives all interested scholars the opportunity
to meet with the authors of recent books in medieval German
studies to discuss new research and contributions in a personal,
informal setting.
This year’s Roundtable will be Friday, 7 May, 8 p.m.,
in Bernard 159.
The meeting will include a Reception with Cash Bar.
Nota bene
Following the Roundtable, donations for the first Sidney M. Johnson
Award will be gratefully accepted.
Organizer & Presider: Alexandra
Sterling-Hellenbrand (Appalachian State University)
Our book this year is by Jean Godsall-Myers (Widener University)
Leiden: Brill 2003.
New Contributions to the Field by SMGS Members
Helmut Brall-Tuchel (Heinrich-Heine Universität Düsseldorf)
has recently published a study on: “Das Herz des Königs – Karl
der Große, Roland und die Schlacht von Roncesvalles in
den Pyrenäen am 15 August 778” in: Schlachtenmythen:
Ereignis – Erzählung – Erinnerung, eds. Gerd
Krumeich and Susanne Brandt. Böhlau Verlag, Köln, Weimar,
Wien 2003. 33-62.
Margarete Springeth (Universität Salzburg) continues to
contribute to our profession by the MHDBDB: Mittelhochdeutsche
Begriffsdatenbank.
MHDBDB is a freely accessible online database. http://mhdbdb.sbg.ac.at
The Middle High German conceptual database (MHDBDB) is a unique
database retrieval system that allows users to query medieval german
literature from an exceptional variety of different approaches.
It is based on the world's largest text archive compared to any
older literary period of any culture. The information system does
not only allow the retrieval of words/strings from the database
but is also able to answer almost any possible linguistic and emantic
question from the entire text corpus, groups of or individual texts.
thus it exceeds by far the capabilities of even the most complex
dictionary. Above all, it offers the possibilit of searching for
complex word and concept combinations, which offeres the possibility
of searching for complex word and concept combinations,which means
the retrieval of different words and/or concepts that co-occur
within given frames of context.
Currently, more than 120 medieval texts (over 5 million words)
are integrated with MHDBDB, among them most of the important epics,
but also some lyrical, religious and historiographical texts. The
vocabulary has already been lemmatized according to grammatical
function and semantic content. But even for those words that have
not yet been fully integrated with the dictionary you can still
retrieve the corresponding forms and variants from the texts.
By means of various commands you can search for individual words,
parts of words, strings and/or conceptual areas in all possible
combinations as for instance in the following query:
- Where, in MHG heroic epics, do I find the words ritter (knight) and got (god)
within a context of 4 verses or less? And where do these wrods occur in combination
with the concept 'LOVE'? And where, among thses co-occurrences, do I find the
word got in final or rhymed position? And where are these search criteria met
in the entire text corpus?
MHDBDB provides a direct link to the largest image database for medieval German
culture, IMAREAL, Institut für Realienkunde (Institute for Realia of the
Middle Ages and Early Modern Times (IMAREAL), at Krems/Austria. An agreement
of close cooperation has been entered with IMAREAL with the aim of combining
automatically searches for text and corresponding images and vice versa.
Since 2002 MHDBDB has moved to a new home at the University of Salzburg/Austria,
where Margarete Springeth (e-Mail: margarete.springeth@sbg.ac.at)
is in charge
of operations and Ulrich Müller (e-Mail: ulrich.mueller@sbg.ac.at)
functions as coordinator. The founding directors, Klaus M. Schmidt (Bowling Green
State
University/ University of Salzburg; e-Mail: schmidt@bgnet.bgsu.edu)
and Horst
P. Pütz (Christian-Albrechts-University Kiel/Germany; E-Mail: suger010@germa.germsem.uni-kiel.de)
continue in their original functions as members of the team.
German Version
MHDBDB: MITTELHOCHDEUTSCHE BEGRIFFSDATENBANK
(Universität Salzburg)
Die MHDBDB ist eine on-line-Datenbank, die frei zugänglich
ist: http://mhdbdb.sbg.ac.at
Die MHDBDB ist eine in ihrer Art einmalige Datenbank, die durch
ihr äußerst vielseitiges Suchsystem einen Zugriff auf
die wichtigsten Werke der mittelhochdeutschen Dichtung von den
verschiedensten Blickwinkeln aus ermöglicht. Das Informationssystem
erlaubt nicht nur die Abfrage nach Wörtern/Zeichenketten und
nach Begriffsfeldern in ein und derselben Datenbank, sondern es
kann auch so gut wie jede linguistische und semantische Fragestellung
an die Textbasis erfüllen. Damit geht es weit über die
Leistungsfähigkeit auch des umfangreichsten Wörterbuches
hinaus. Vor allem bietet es die Möglichkeit, nach komplexeren
Wort- oder Begriffskombinationen zu suchen, das heißt, nach
der Kookurrenz (gemeinsames Vorkommen) von verschiedenen Wörtern
oder Begriffen in einem gegebenen Kontextrahmen.
Die MHDBDB umfasst derzeit über 120 Texte (mehr als 5 Millionen
Wörter), dabei die wichtigsten epischen Werke, aber ebenso
Texte aus der Lyrik, religiöse und historiographische Werke,
d.h. sie bietet einen repräsentativen Querschnitt durch den
mhd. Wortschatz hinsichtlich Einzelwörtern, Wortformen und
vor allem Begriffsfeldern. Der Wortschatz ist zum größten
Teil bereits nach grammatischen Formen und Bedeutungen definiert.
Sofern einzelne Wörter hinsichtlich ihrer Bedeutung noch nicht
definiert sind, findet man dennoch die entsprechenden Wort- und
Schreibformen.
Mit Hilfe der verschiedensten Suchbefehle kann man nach Einzelwörtern,
Wortteilen und Begriffsfeldern suchen, und zwar in den unterschiedlichsten
Kombinationen wie z.B.:
- Wo erscheinen in der mhd. Heldenepik die Wörter ritter und
got im Abstand von 4 Versen oder weniger? Und wo zusammen mit einem
Wort aus dem Begriffsfeld ´LIEBE´? Und wo steht dabei
got im Reim? Und wo erfüllen sich diese Suchkriterien im gesamten
Textkorpus?
Mit der großen Bilddatenbank IMAREAL des Instituts für
Realienkunde in Krems ist die MHDBDB durch einen Link verbunden.
Diese Zusammenarbeit soll noch weiter intensiviert werden.
Die MHDBDB hat seit dem Jahr 2002 ihren physischen Sitz an der
Universität Salzburg, und zwar auf Grund der jahrzehntelangen
Beziehungen zwischen der Altgermanistik in Bowling Green sowie
den Computerwissenschaften und der Altgermanistik in Salzburg.
Verantwortlich für die MHDBDB in Salzburg ist Margarete Springeth,
die auch für Auskünfte jederzeit zur Verfügung steht
(E-Mail: margarete.springeth@sbg.ac.at). Ulrich Müller fungiert
als Koordinator für die MHDBDB in Salzburg (E-Mail: ulrich.mueller@sbg.ac.at).
Die Gründungsdirektoren Klaus M. Schmidt (Bowling Green State
University / Universität Salzburg; E-Mail: schmidt@bgnet.bgsu.edu)
und Horst P. Pütz (Christian-Albrechts-Universität zu
Kiel; E-Mail: suger010@germa.germsem.uni-kiel.de) bleiben in ihren
ursprünglichen Funktionen weiterhin Mitglieder des Arbeitsteams.
Die Datenbank wird – wie erwähnt – laufend erweitert.
Korrigierte, elektronisch lesbare Texte können jederzeit zur
Verfügung gestellt und in die Datenbank eingelesen werden.
Die „Quelle“ wird selbstverständlich mit den notwendigen
Informationen über Urheber und Ersteller verzeichnet.
SMGS Review
Of
Numine afflatur. Die Inspiration des
Dichters im Denken der Renaissance.
Christoph J. Steppich
Wiesbaden: Harrassowitz, 2002
(Gratia. Bamberger Schriften zur Renaissanceforschung; 39) ISBN
3-447-04531-0
By
Manfred Kern
Universität Salzburg
The main point to be criticized in Steppich’s study is
the following: its title can be conceived as a pleasant, but
eminent understatement. Steppich does not simply deal with “die
Inspiration des Dichters im Denken der Renaissance.” This
is just the focus of a learned investigation shedding light upon
central concepts of thinking dominating European renaissance
and humanism. In treating the topics and theories of inspiration,
Steppich is able to explain “zugleich die generelle Aspiration
des Zeitalters” (p. 269). His main methodical approach
is to conclude the general within the particular, which is, ironically,
more Aristotelean than Platonic, contrary to the theories and
thinkers considered in this book. This method is responsible
for the catching lucidity and conscientiousness of the study.
Thus we could say, that we read this book not just with growing
interest, but – at least sometimes – “numine
afflati” ourselves. Steppich also avoids burying his topics
beneath the soil of the current theoretical jargons. He rather
leads the reader carefully into and through the world of terms,
which were directing European renaissance thinking. This kind
of historically accurate description followed by a clear and
cautious interpretation requires a comprehensive knowledge of
literature as well as the philosophies of the period. Including
a wide range of texts, which starts with Plato and ends with
the Viennese professor of poetics, Joachim Vadianus (J. von Watt,
1484-1551), Steppich’s study can claim this knowledge and
is able to impart it to the reader. This time-honored, but not
obsolete philological virtue is one of the main reasons for the
classical status of the well known books by Erich Auerbach and
Ernst Robert Curtius or – more closely to Steppich’s
subject– those by Jean
Seznec (“La Survivance des Dieux Antique,” first
published in 1940) and Erwin Panofsky (“Renaissance and
Renascences in Western Art,” first published in 1960).
There are not many modern studies presenting an analogous combination
of knowledge and the capacity for its lucid preparation. One
of the most recent examples may be the latest book on Petrarca
by Karlheinz Stierle (München: Hanser, 2004). Steppich attains
this standard. Thus his impressive knowledge of texts and research
is the first essential of the widespread horizon that his study
opens by focusing upon a topic that seems to be quite specific
at first glance.
The introduction discusses the central terms and problems concerning
the competing topics of poetic inspiration, first of all, the
Christian concept and the Platonic tradition of enthousiasmós
and mania. Steppich is able to show that the theological approach
from late antiquity onwards is neither without the influence
of classical philosophy and literature nor can it be strictly
limited: On the contrary it includes the idea of divine revelation
(exclusively related to the biblical texts) as well as the fact,
that every Christian activity, thus also Christian poetry is
begun in the name of God. A lucid interpretation of the prologue
of Wolfram’s Willehalm concludes with the introduction.
According to Steppich, Wolfram does not claim divine inspiration
in the narrow sense and thereby he would want to surpass the
poetological concepts of his predecessors, first of all Hartmann
(as Ohly says). Moreover, he follows the tradition of medieval
legendary writing and just prays for divine aid.
One could say that this example taken from Medieval High German
Literature seems to be a little far-fetched. But firstly, Steppich
plausibly argues that it shows the wide range of functions of
the inspiration theme and the difficulties of its interpretation
(either as related to fundamental philosophical concepts or as
a quite “simple” and traditional rhetorical means).
Secondly, the discussion of Wolfram’s prologue is linked
to the main focus of the opening chapter of Steppich’s
study (“Die Inspiration des Dichters in der humanistischen
Dichtungstheorie and neuplatonischen Renaissance-Philosophie
Italiens”): it is about those topics of the period’s
poetological discussion, which are also common to the corresponding
medieval debates. In particular, Steppich treats the theory of
divine inspiration and its transfer from the biblical to the
poetic texts, the quarrel about “truth” and “lie” in
poetry, the concept of the pagan poeta-vates as the one who foresees
the work of salvation (especially Vergil), and finally, the Christian
allegorical interpretation of classical texts and poets as instruments
of a praeparatio evangelica given to people and periods before
the time of revelation of the Christian god.
It is really impressive, how clearly Steppich can demonstrate
the continuity of arguments, problems, solutions and strategies
of interpretation between the medieval and the renaissance treatment
of the theme. This continuity may be founded on the extensive
recourse to patristic literature which can be observed in the
explanations given by Petrarca, Boccacio or Salutati, to name
the main sources analysed by Steppich in this chapter. In this
respect, his investigation affirms the main result of Jean Seznec’s
study in the reception and interpretation of classical mythology
during the period of European humanism, which has demonstrated
the deep links of renaissance thinking and art with its medieval
predecessors. The treatment of the old topics is certainly not
just simple repetition and it is marked by a new dynamics of
thinking; a fact proven by the wider horizon of (classical) texts
being in sight of the humanist theorists and by their enthusiastic
way to deal with those texts.
The following chapters lead us to the conceptive center, which
causes the new humanistic approach to inspiration theory itself.
This center is clearly defined by renaissance Platonism and its
remarkable synthesis of Christian, astrological, Platonic and
Neo-Platonic theory. Steppich leads the reader carefully to an
understanding of this philosophical background and convincingly
proves its productive role for the genuine outlines of the renaissance
concept of inspiration. Dante thereby is conceived as the one
who represents the preluding model for the coming theories and
practice (chapter 2, pp. 82 – 110). Steppich is not afraid
of taking position in the prominent and long lasting debate,
whether the poet of the Comedia sees himself as theologus-poeta
inspired by God in the theological sense and who proclaims the
truth of doom and salvation in a literary meaning, or if the
topoi of inspiration should be taken as a means of imitatio and
the narration as only symbolically true. Steppich does not assume
a simple mediating position, but is able to demonstrate that
Dante’s relation to the divine is clearly based on (Neo-)Platonic
conceptions. The poet’s way up to paradise is one of increasing
participation in the divine ideal. Thereby his ingenium is supported
by divine entities representing the highest ideal within the
lower spheres of being and cognition. It is this mutual relation,
which Steppich understands as the focus of the forthcoming inspiration
theories: Inspiration is a process defined by a double Platonic
motion, upwards by the poet and downwards by the divine support
of his art. Although he does not coin this formula, Steppich’s
analysis works out this principle of “downwards-upwards.” It
is the main key that opens the understanding of renaissance inspiration
theory and gives insight in its systematic character (in relation
to renaissance theology, philosophy, anthropology, and poetics).
To prove this systematic character is on of the central results
of Steppich’s study.
The following chapters concentrate upon this result by proceeding
from different perspectives, like the conception of the ingenium
and the relation between the talent (“Natur”) and
the artistic knowledge (“Kunst”) of the poet (chapter
3), the idea of the “creator”–god (hereby Steppich
relates to the wide discussion of human dignity and coins the
important term of god the creator as the causa exemplaris of
the human creative spirit, which comes to its highest expression
in the poetic practice), and the furor poeticus as an impulse
coming from the divine entity (principle “downwards”)
as well as an expression of the poet’s aspiration to reach
the ideal of divinity (principle “upwards”) (chapter
5). Finally, these perspectives are united in a lucid and convincing
description of the philosophical system developed by Marsilio
Ficino (chapter 6). Ficino establishes a great synthesis of the
corresponding Christian and Platonic conceptions concerning man’s
relation to the divine and divine support for man. The most important
fact within Ficino’s theory is, that he is able to embody
his metaphysical speculation in a physical model by adapting
the great tradition of astrological speculation: The ingenium
of man represents a special disposition of talents given by birth,
whereas the astrological entities (especially the genius, who
is responsible and who guides and guards the individual ingenium)
are the hypostases of the divine entity and thereby the instances
by which the ingenium can reach upwards to this entity. The astrological
influence on human existence (principle “downwards”)
certainly does not result in a doctrine of destiny. Moreover,
it obliges man to recognize the disposition of his ingenium,
to open himself to the astrological possibilities given to him.
In short, it obliges him to an activity orientated to the transcendent
divine ideal, which is – according to the Platonic theory
of anámnesis – its origin (principle “upwards”).
This activity is realized in the practice of the poet. A discussion
of Ficino’s influential theory of melancholia (as the typical
temperament of the artist and the theorist) completes the first
part of Steppich’s study.
Its second part is composed in a nearly metaphysical symmetry
to the first. In examining the reception of the theories, especially
of Ficino’s, by German humanism, it does not simply provide
convincing case studies; it demonstrates how widespread the main
concepts and topoi related to renaissance inspiration theory
are reproduced within poetic and poetological writings by Celtis,
Hessus, and others. Thereby Steppich also proves that we are
really allowed to call it a common and clearly outlined system
of thinking. To point out just one example, I refer to the already
mentioned Joachim Vadianus, whose poetics reassemble all the
topics and the whole range of humanist positions concerning inspiration,
from the rhetorical topoi up to the Ficinian Platonic-astrological
theory of ingenium (cf. esp. pp. 252 – 273). Thus with
reference to the terminology of Jean Seznec, we could call him
a representative of the encyclopedic tradition concerning renaissance
poetological theory. Finally, I refer to the question which Steppich
places at the end of his introduction: the problem, whether the
quotation of the inspiration theme in the poetry of the period
can be seen as a kind of rhetorical play or if there is a serious
philosophical concept at its background. The last chapter of
Steppich’s study (chapter 12) is dedicated to such kinds
of rhetorical play with traditional topoi like the invocation
of the Muses. Steppich’s position is not to eliminate the
indubitable playful character of such passages, but rather is
able to show convincingly that also poetic play is related to
the fundamental theoretical categories, which are connected with
the problem of inspiration during the European renaissance and
humanism (esp. p. 344). As we have stressed at the beginning,
we can call Steppich’s study excellent concerning the way
of treating and presenting the subject. Its style is not pretentious,
but accurate and catching. Steppich proves his explanations by
a rich selection of quotations from primary and secondary sources,
which is of advantage for the lucidity and evidence of the presentation.
Of course, there are things to be criticized: first of all a
list of abbreviations (esp. of the titles of cited works) would
have been helpful to the reader. Some chapters could be a little
more to the point (e.g., Dante’s new idea of inspiration),
some interpretation could be a little more precise (e.g., the
one of Amerbach’s “Trauerlied auf Kaiser Karl V.,” p.
340). The relation between mimesis and anámnesis in Ficino’s
theory, for example, does not seem to be clear (p. 165f., cf.
also p. 303f.): in a Platonic view anámnesis could never
be achieved by means of imitation. Like his renaissance theorists
Steppich also neglects the important word “quasi” in
Cicero’s famous quotation: “poetam (…) quasi
divino quodam spiritu inflari” (p. 111). At these points
we would expect a more thorough explanation. It would also be
interesting to learn a little more about the opponents to the
Ficinian theory in contemporary theology. Steppich cites an important
sentence from the “Orationes contra Poetas” by Ermolao
Barbaro: “testis est scriptura” (p. 260). This should
also be the main objection against Ficino’s inspiration
theory: From a theological point of view his complicated construction
is simply not necessary. Nevertheless, it is convincing for his
era, because it establishes the relation of mankind to a transcendent
sphere within a physical concept of the world and therefore can
claim physical evidence. The contradiction between a theological
point of view and Ficino’s theory could be connected with
the fundamental rivalry between God’s written book and
the world as the living book of God’s creation. This rivalry
dominates expecially the early modern times, as the brilliant
study by Hans Blumenberg (“Die Lesbarkeit der Welt,” Frankfurt
a. M.: Suhrkamp, 1983) debates extensively. Another book by Blumenberg
(“Die Legitimität der Neuzeit,” 2nd edition,
Frankfurt a. M.: Suhrkamp, 1988) could have given the impulse
to some remarks on the problem of “secularization” to
be found behind Ficino’s synthesis.
But maybe these comments do not mark the critical points of Steppich’s
study, but they are the expression of its capacity to provoke
further consideration and they mark the points, where we would
like to get into a further discussion. We would hope this discussion
will take place. The book deserves it. Regarding the high level
of reflection, the impressive horizon of texts treated and considered
here, and last but not least the clearness of presentation, we
finally have to recommend Steppich’s book as a study, which
does not only treat the topic of inspiration in a comprehensive
way, but can be read as a profound and vivid introduction to
European renaissance- and humanist thinking as a whole.
For his insightful review, The Society for Medieval German Studies
wishes to express its thanks to Manfred Kern (Universität
Salzburg).
New Books received for Review
From Camden House:
German Literature of the Early Middle Ages,
Edited by Brian Murdoch,
In: Camden House History of German Literature, Vol. 2.,
Rochester and Woodbridge: Camden House, 2004
ISBN: 1-57113-240-6
SMGS thanks Amy Powers at Camden House for the opportunity to
review contributions of their authors to the field.
Call for Papers
SMGS Sessions at Kalamazoo and Leeds 2005
Submission of Abstracts
We encourage electronic submission of abstracts to Alexandra
Sterling-Hellenbrand:
hellenbranda@appstate.edu
Alexandra Sterling-Hellenbrand, Associate Professor of German
and Chair
Department of Foreign Languages and Literatures
Appalachian State University
1700 South Main St.
Boone, North Carolina 28608
Fax: (828) 262-7079
Deadline for submissions
Both for Kalamazoo and for Leeds is Wednesday, 22 September 2004.
Back to Top
Selected
Recent Titles of Interest for Medieval German Studies
The following annotated bibliography makes no attempt at being
comprehensive. It strives simply to offer a selection of recent
academic books that may be of interest to teacher-scholars
in medieval German literature, art and cultural history. The
books are listed alphabetically according to author(s) or editor(s).
The summaries included here are taken from a variety of journals
specializing in book reviews including Choice, a monthly magazine
for acquisitions librarians published by the Association of
College and Research Libraries, Speculum, the journal of the
Medieval Academy of America, H-Net Reviews in the Humanities & Sociology
(www.h-net.msu.edu), and Monatshefte as indicated.
Robert G.
Sullivan, Justice and the Social Context of Early Middle High
German Literature. (Studies in Medieval History and Culture,
5) New York and London: Routledge, 2001. Pp. xvii, 186. $70.
A welcome addition to a relatively new, broadly conceived series
of medieval “monographs by scholars in the early stages
of their careers” (Francis G. Gentry, series editor’s
foreword, p. vii), this study deals with a number of early-medieval
German texts. Sullivan begins by discussing the important distinction
to be drawn between the periodization of early German literature
by dates or by subject matter (driven by linguistic or literary
phenomena, respectively). His conclusion is that Early Middle
High German (religious) literature extends into the period
of Classical Middle High German, one both defined and dominated
by the emerging and much better known courtly literature. As
is true in all historical disciplines, evidence defines neatly
drawn time lines; continuities and change generally ignore
calendars. For the purpose of studying justice and its social
context, Sullivan focuses on the religious literature written
circa 1050-1200.
The concepts of justice that emerge from analysis of Early Middle High German
writing and the historical context of its composition revolve around two notions,
the first legal, the second theological; judicial impartiality and works of mercy.
In some passages, reht appears to assume a general meaning of virtue, that is, “the
right [thing].” This meaning corresponds to the medieval understanding
of iustitia, especially when used in the context of exemplary rulers, and could
in turn encompass both legal exactitude and Christian mercy.
Literary critics or, in the case of most studies of medieval German texts, philologists
have debated the credibility of extracting historical sociological insights from
religious writing. Theological treatises, poems on religious topics, sermons,
and the like tend to reflect religious doctrine more than sociological reality.
Sullivan proposes using non-Early Middle High German sources, most of which are
Latin, as tools to help measure the accuracy of our understanding of those vernacular
textual passages that seem to render views of contemporary notions of justice.
Beyond this, Sullivan aims to show that an inadequate understanding of the historical
context leads to misinterpretations of the literature. In searching for an understanding
of historical context we should keep in mind that authorities writing in Latin
may have been no less biased in their thinking and writing than those who copied
vernacular texts.
Much of Sullivan’s analysis treats pairs of conceptually related terms:
iustitia and ordo, frîe and scalc, arm and rich, hêrre and knecht.
After outlining the theological and political traditions of iustitia and ordo,
Sullivan investigates the sociological categories represented by the German terms
for “free” and “unfree,” “poor” and “rich,” “lord” and “servant.” .
. . The final conceptual pair discussed, minne und reht (charity and the right),
demonstrates the necessity for close textual analysis, including consideration
of source materials, in order to understand its potential meanings.
Sullivan’s summary argument, that social justice was a hot issue of the
time, is supported in a fair number of ways. It would be interesting to know
to what extent the German response is similar to or differs from its many European
neighbors of the era and how these issues manifest themselves in the wave of
German literature to follow. . .
John M. Jeep (Miami University) Speculum April 2003
Maryvonne Hagby, Man hat uns
fur die warheit . . . geseit: Die Strickersche Kurzerzählung im Kontext
mittellateinischer “narrations” des 12. und 13. Jahrhunderts.
(Studien
und Texte zum Mittelalter und zur frühen Neuzeit, 2. ) Münster: Waxmann,
2001. Paper. Pp.x, 360.
The anonymous German writer known as Der Stricker (fl. 1200 — 1250) created
a large body of short didactic texts as well as the first German fabliaux, a
version of The Song of Roland, and an apparently original Arthurian romance.
Hagby’s book is devoted to the didactic material, although it draws in
certain fabliaux and other mæren as the need arises.
It has long been known that Der Stricker’s fables and exempla are part
of the vast “reservoir” of stories and interpretations passed down
from classical and Christian writers, which were repeated and revised by many
generations in response to particular contexts and occasions of use, and perhaps
particular interests of patrons. (Hagby uses the metaphor of the reservoir, e.g.,
on p. 339). Individual texts have been studied for their connections to others
of the same or similar content, but until now no comprehensive study has been
made that would attempt to show the place of this body of writing by Der Stricker
in the panorama of medieval didactic narrative written in Latin.
Hagby has made this attempt, and it is well done—supported by impressive
erudition, a somewhat ponderous but always clear academic style, and a finely
discriminating, analytic intelligence. She concludes that Der Stricker had knowledge
both extensive and close of the Latin tradition, including narrative fictions,
beast fables, and zoological and botanical lore; that he based his efforts on
the model of this tradition in content, method, and rationale; that he modified
particular stories for the sake of aesthetic as well as didactic goals; and that
he used the compositional principles of the Latin tradition as well as the almost
inexhaustible supply of individual motifs to create his own quasi-autonomous
texts. In this manner he participates as a Multiplikator in the long process
of repetition, revision, adaptation, and creation that led to the existing treasury
of Latin and vernacular short narratives. . . . The last chapter examines the
major collection of Stricker texts in Vienna Codex 2705, comparing it with the
collections of improving short narratives by Walter Map (De nugis curialium),
Caesarius of Heisterbach (Dialogus miraculorum), and Petrus Alfonsi (Disciplina
clericalis). The author concludes that the Stricker collection is not fortuitous
but planned, showing important similarities in content and arrangement to the
Latin cycles.
As is true for many works of scholarship that seek conclusions on the basis of
wide, comprehensive study, this book persuades through the accumulation of arguments
and evidence that may not be entirely convincing in all individual cases. It
is precisely the existence of a “reservoir” of material that makes
it difficult to carry out close comparison of a Stricker text with another one
on the same subject. Hagby writes of “sources” (Quellen) and “models” (Vorlagen)
somewhat more often than I would, as in the case of the fable “De fure
et cane” and Stricker’s “Der Wolf und der Hund.” Hagby
points out that there are many Latin versions, and that it had been adapted in
the vernacular by Marie de France well before Stricker (p. 148). She nonetheless
proceeds as if the German author had in front of him a Latin Vorlage that he
deliberately modified: “Diese Erzählung ist das Resultat der radikalsten
Inhaltsänderung, die der Stricker nach meiner Kenntnis an einem mittellateinischen
Text vollzieht. . . . Allerdings bleibt er sowohl durch das Negativ-Bild, das
er liefert, als auch durch die makro- und die mikrostilistische Bearbeitung des
Erzählinhalts der mittellateinischen Fabel bewußt nahe” (p.
149). The very idea of making “microstylistic” comparisons requires
the assumption of a closer relationship of the transmitted texts than many readers
will be likely to make. In some cases Hagby would have done better to remain
within her cogent conception of Der Stricker’s creative combination of
motifs learned from some variant or other.
A few moments in the book must be questioned. Aristotle is cited many times,
as though he were a medieval authority ( I think German scholars feel an obligation
to show their familiarity with Aristotle, even if his work itself is remote from
the author under discussion). Thomas Aquinas is cited as an authority, although
for Der Stricker a roughly contemporary Dominican Scholastic is not a likely
influence, and Aquinas cannot be used if he were a simple compiler of what everyone
knew. Hagby concludes that Der Stricker consciously wrote parabolae, basing her
use of the term on the definition in a handbook by Abbot Engelbert of Admont
from 1309. Despite her rational, and the preceding footsteps of other scholars
(p. 193), this rather obscure source is not a sound basis for assigning Stricker’s
texts to a conception of genre—especially that of parabola, which I still
believe lacked conceptual clarity in the Middle Ages (see my Medieval Allegories
of Jesus’ Parables [Berkeley, Calif., 1987], pp. 3 – 4).
If chains are only as strong as their links, then one must
use Hagby’s
conclusions cautiously as regards sources and models and generic classification
(“Der Stricker gibt sich außerordentlich viel Mühe, damit seine
Texte in den literarischen Bereich der ‘parabolae’ aufgenommen werden,” p.
346, the book’s penultimate sentence). Her demonstration that Stricker
creatively “multiplied” the Latin tradition of didactic narrative
is nonetheless convincing and valuable. I regret that she so carefully abstained
from any comment of a sociological character, even at such a basic level as how
this professional and apparently itinerant writer acquired the large familiarity
with Latin tradition that he displays. By long studies in a large library? By
listening to countless sermons enlivened by literary “examples?”
through a clerical function in his youth at a school or university? Every study
that insists on this author’s familiarity with material that current scholars
must seek out and laboriously assemble from manuscript sources should carry with
it thoughts on how his familiarity came to exist.
Stephen L. Wailes (Indiana University) Speculum April 2003
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News
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Stephen Mark Carey will be leaving Emory University to take up a
new appointment at Georgia State University in Atlanta.
Ernst Ralf Hintz has recently accepted an appointment at Truman State
University in Missouri, beginning in August 2004.
C. Stephen Jaeger (University of Illinois at Urbana-Champaign) has
announced a change in the journal JEGP, which has been published
for the past 108 years.
The Editors announce that JEGP will
henceforth focus on medieval Northern European cultures,
as indicated in the journal’s new subtitle: Medieval
English, Germanic, and Celtic Studies. The work “medieval” potentially
encompasses the earliest documentary and archeological
evidence for Germanic and Celtic languages and cultures;
the literatures and cultures of the early and high Middle
Ages in Britain, Ireland, and Germany, and Scandinavia;
and any continuities and transitions linking the medieval
and post-medieval eras, including modern “medievalisms” and
the history of Medieval Studies. The journal also intends
to provide a forum for exploring theoretical questions
and for scholarly debate concerning periodization, disciplinary,
identity, and method. The Editors therefore welcome submissions
dealing with anyh aspect of medieval English, Germanic,
and Celtic languages and literatures, including the Latin
literatures of these cultures.
All articles and reviews that have been accepted to date will be published before JEGP fully assumes its new identity.
The evolution of JEGP into a medieval journal coincides with the inauguration of a formal Program in Medieval Studies at the University of Illinois at Urbana-Champaign. The Program’s first director, Professor C. Stephen Jaeger, along with UIUC Professor of English Martin Camargo, joins the editoral board of continuing editors Marianne E. Kalinke ande Charles D. Wright.
Please address manuscripts as follows: Editors, JEGP, 107 English Building, 608 South Wright Street, Urbana, IL 61801. Books for review should be sent to the same address.
[News not included in this edition will appear in the Fall edition.]
The SMGS News & Review is written and edited by Ernst Ralf Hintz,
Department of Modern Languages , Fort Hays State University,
303 Rarick Hall, 600 Park Street, Hays, Kansas 67601-4099, U.S.A.
Fax: (785) 628-5693. Email: ehintz@fhsu.edu
Nota bene: on August 1, 2004, there will be a new editorial email address: ehintz@truman.edu
Send contributions in German, English or French by August 15, 2004,
using the attached information update form.
On behalf of Edward Haymes, Alexandra Sterling-Hellenbrand, and The Society
for
Medieval German Studies,
Best wishes to you all for the Spring,
Ernst Ralf Hintz
(SMGS) Group at Kalamazoo
Please return to:
Ernst Ralf Hintz
Department of Modern Languages Fax: (785) 628 - 5693
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