Pub Date : 2024-02-05DOI: 10.1163/18756719-12340304
D. Schürr
The MHG epic ‘Wolfdietrich’ and the ON ‘Thidreks saga’ contain an unlucky fight against a dragon: Wolfdietrich or Thidrek af Bern helps a lion against it, but the dragon takes the lion in its mouth and the knight in its tail and drags them to its cave. This very characteristic situation was depicted in medieval church art, at least three times: 1. on floor-tiles found in the monastery of Pilis (Hungary), including the sword broken into three pieces and three dragon cubs (13th century or roughly around 1300); 2. in the cloister of St. Michael at Hildesheim (Lower Saxony), together with a second dragon (1230/50); 3. on the richly decorated ‘Schottenportal’ of St. James at Regensburg (Bavaria), left side (second half of the 13th century). The last depiction is therefore older than the different versions of the MHG epic and the compilation of the ON saga, probably attesting that the unlucky dragon fight was already a part of a pre-literary ‘Wolfdietrich’.
MHG 史诗《Wolfdietrich》和 ON 史诗《Thidreks saga》中都有一场与龙的不幸战斗：Wolfdietrich 或 Thidrek af Bern 帮助一头狮子对抗巨龙，但巨龙用嘴叼住了狮子，用尾巴夹住了骑士，并把他们拖进了自己的洞穴。在中世纪的教堂艺术中，至少有三次描绘了这种极具特色的情形：1. 在皮利什修道院（匈牙利）发现的地砖上，包括断成三截的剑和三只幼龙（13 世纪或大约 1300 年左右）；2. 在希尔德斯海姆（下萨克森）的圣米迦勒回廊中，还有第二条龙（1230/50 年）；3. 在雷根斯堡（巴伐利亚）圣詹姆斯装饰华丽的 "Schottenportal "左侧（13 世纪下半叶）。因此，最后一幅画比不同版本的《MHG》史诗和《ON》传奇的编纂时间都要早，这可能证明不幸的龙战已经是文学作品《Wolfdietrich》之前的一部分。
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Pub Date : 2024-02-05DOI: 10.1163/18756719-12340298
John M. Jeep
A valuable collection of late medieval German poetry contains a number of known and new alliterating word-pairs, here surveyed and analyzed for the first time. While reaching beyond the medieval German period covered by earlier studies, it helps complete the survey of German literature approaching the mid-thirteenth century, and provides evidence up until circa 1500.
{"title":"Stabreimende Wortpaare in der deutschen Lyrik des späten Mittelalters","authors":"John M. Jeep","doi":"10.1163/18756719-12340298","DOIUrl":"https://doi.org/10.1163/18756719-12340298","url":null,"abstract":"\u0000A valuable collection of late medieval German poetry contains a number of known and new alliterating word-pairs, here surveyed and analyzed for the first time. While reaching beyond the medieval German period covered by earlier studies, it helps complete the survey of German literature approaching the mid-thirteenth century, and provides evidence up until circa 1500.","PeriodicalId":108095,"journal":{"name":"Amsterdamer Beiträge zur älteren Germanistik","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139804325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-05DOI: 10.1163/18756719-12340303
Dietmar Schneidergruber
This essay establishes a connection between the late medieval fairy tale Der fünfmal getötete Pfarrer and the penitential of John of Erfurt. A critical examination of the state of research takes place and an alternative is offered. The tale can also be a critical examination of church rules that are ridiculously pushed to their limits.
{"title":"Der fünfmal getötete Pfarrer","authors":"Dietmar Schneidergruber","doi":"10.1163/18756719-12340303","DOIUrl":"https://doi.org/10.1163/18756719-12340303","url":null,"abstract":"\u0000This essay establishes a connection between the late medieval fairy tale Der fünfmal getötete Pfarrer and the penitential of John of Erfurt. A critical examination of the state of research takes place and an alternative is offered. The tale can also be a critical examination of church rules that are ridiculously pushed to their limits.","PeriodicalId":108095,"journal":{"name":"Amsterdamer Beiträge zur älteren Germanistik","volume":"3 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139805678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-05DOI: 10.1163/18756719-12340300
N. Wagner, R. Schuhmann
Apart from other details within the Hildebrandslied, writing a th occurs only once. This is the case with the name of Dietrich in miti theotrihhe (line 19). It remains the only th throughout the poem. In the Latin sources the name of Theoderich is regularly written as Theodericus or Theodoricus. This fact must have been known to the writer. For this reason, he wrote Th in order to continue with OHG -eotrihh- (line 19). Two times he wrote the name with OHG D (lines 23 and 26). The fight between Theoderich and Odoacar for the domination of Italy was a well-known fact and therefore also was known to the writer as is proved by his writing of Th. He felt he had to correct a mistake in the Hildebrandslied. This is why he removed Ermenrich and inserted the correct Otacher in his place. Driving Dietrich out of Italy into exile thus became the third infamous deed of Ermenrich, the second been the hanging of the pair of nephews, called the Harlunge, the first the killing of his only son Friderich. Also, the problem of the apparent -i-stems asckim, scurim, and sciltim is tackled.
{"title":"Zu Otachar im Hildebrandslied","authors":"N. Wagner, R. Schuhmann","doi":"10.1163/18756719-12340300","DOIUrl":"https://doi.org/10.1163/18756719-12340300","url":null,"abstract":"\u0000Apart from other details within the Hildebrandslied, writing a th occurs only once. This is the case with the name of Dietrich in miti theotrihhe (line 19). It remains the only th throughout the poem. In the Latin sources the name of Theoderich is regularly written as Theodericus or Theodoricus. This fact must have been known to the writer. For this reason, he wrote Th in order to continue with OHG -eotrihh- (line 19). Two times he wrote the name with OHG D (lines 23 and 26). The fight between Theoderich and Odoacar for the domination of Italy was a well-known fact and therefore also was known to the writer as is proved by his writing of Th. He felt he had to correct a mistake in the Hildebrandslied. This is why he removed Ermenrich and inserted the correct Otacher in his place. Driving Dietrich out of Italy into exile thus became the third infamous deed of Ermenrich, the second been the hanging of the pair of nephews, called the Harlunge, the first the killing of his only son Friderich. Also, the problem of the apparent -i-stems asckim, scurim, and sciltim is tackled.","PeriodicalId":108095,"journal":{"name":"Amsterdamer Beiträge zur älteren Germanistik","volume":"60 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139863691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-05DOI: 10.1163/18756719-12340300
N. Wagner, R. Schuhmann
Apart from other details within the Hildebrandslied, writing a th occurs only once. This is the case with the name of Dietrich in miti theotrihhe (line 19). It remains the only th throughout the poem. In the Latin sources the name of Theoderich is regularly written as Theodericus or Theodoricus. This fact must have been known to the writer. For this reason, he wrote Th in order to continue with OHG -eotrihh- (line 19). Two times he wrote the name with OHG D (lines 23 and 26). The fight between Theoderich and Odoacar for the domination of Italy was a well-known fact and therefore also was known to the writer as is proved by his writing of Th. He felt he had to correct a mistake in the Hildebrandslied. This is why he removed Ermenrich and inserted the correct Otacher in his place. Driving Dietrich out of Italy into exile thus became the third infamous deed of Ermenrich, the second been the hanging of the pair of nephews, called the Harlunge, the first the killing of his only son Friderich. Also, the problem of the apparent -i-stems asckim, scurim, and sciltim is tackled.
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Pub Date : 2024-02-05DOI: 10.1163/18756719-12340305
E. Langbroek, F. Brands
Of the rhyming Apocalypse, which may have been written in Westphalia at the end of the thirteenth century, two abbreviated versions were made in North German monasteries in the fifteenth century, which were regularly used in the context of monastic reforms. A text edition of the second abridged version is presented here, as it appears in the manuscript Hannover Ms I 84a.
押韵的《启示录》可能成书于 13 世纪末的威斯特伐利亚，15 世纪北德修道院制作了两个简略版本，在修道院改革中经常使用。这里介绍的是第二个缩写本的文字版，它出现在手稿《汉诺威女士 I 84a》中。
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Pub Date : 2024-02-05DOI: 10.1163/18756719-12340305
E. Langbroek, F. Brands
Of the rhyming Apocalypse, which may have been written in Westphalia at the end of the thirteenth century, two abbreviated versions were made in North German monasteries in the fifteenth century, which were regularly used in the context of monastic reforms. A text edition of the second abridged version is presented here, as it appears in the manuscript Hannover Ms I 84a.
押韵的《启示录》可能成书于 13 世纪末的威斯特伐利亚，15 世纪北德修道院制作了两个简略版本，在修道院改革中经常使用。这里介绍的是第二个缩写本的文字版，它出现在手稿《汉诺威女士 I 84a》中。
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Pub Date : 2024-02-05DOI: 10.1163/18756719-12340304
D. Schürr
The MHG epic ‘Wolfdietrich’ and the ON ‘Thidreks saga’ contain an unlucky fight against a dragon: Wolfdietrich or Thidrek af Bern helps a lion against it, but the dragon takes the lion in its mouth and the knight in its tail and drags them to its cave. This very characteristic situation was depicted in medieval church art, at least three times: 1. on floor-tiles found in the monastery of Pilis (Hungary), including the sword broken into three pieces and three dragon cubs (13th century or roughly around 1300); 2. in the cloister of St. Michael at Hildesheim (Lower Saxony), together with a second dragon (1230/50); 3. on the richly decorated ‘Schottenportal’ of St. James at Regensburg (Bavaria), left side (second half of the 13th century). The last depiction is therefore older than the different versions of the MHG epic and the compilation of the ON saga, probably attesting that the unlucky dragon fight was already a part of a pre-literary ‘Wolfdietrich’.
MHG 史诗《Wolfdietrich》和 ON 史诗《Thidreks saga》中都有一场与龙的不幸战斗：Wolfdietrich 或 Thidrek af Bern 帮助一头狮子对抗巨龙，但巨龙用嘴叼住了狮子，用尾巴夹住了骑士，并把他们拖进了自己的洞穴。在中世纪的教堂艺术中，至少有三次描绘了这种极具特色的情形：1. 在皮利什修道院（匈牙利）发现的地砖上，包括断成三截的剑和三只幼龙（13 世纪或大约 1300 年左右）；2. 在希尔德斯海姆（下萨克森）的圣米迦勒回廊中，还有第二条龙（1230/50 年）；3. 在雷根斯堡（巴伐利亚）圣詹姆斯装饰华丽的 "Schottenportal "左侧（13 世纪下半叶）。因此，最后一幅画比不同版本的《MHG》史诗和《ON》传奇的编纂时间都要早，这可能证明不幸的龙战已经是文学作品《Wolfdietrich》之前的一部分。
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Pub Date : 2024-02-05DOI: 10.1163/18756719-12340302
Giuliano Marmora
This article identifies two frequently occurring motifs in novelistic adaptations of Beowulf that compellingly corroborate the fictional subversion of the narrative: the scop as the forger of the truth and personal profit as the catalyst for composition. Moreover, this article observes how these novels exist within a complex intertextual network, demonstrating how contemporary authors artfully recast Old English literary texts into their work and suggesting the influence of earlier retellings for the employment of either one or both motifs.
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Pub Date : 2024-02-05DOI: 10.1163/18756719-12340302
Giuliano Marmora
This article identifies two frequently occurring motifs in novelistic adaptations of Beowulf that compellingly corroborate the fictional subversion of the narrative: the scop as the forger of the truth and personal profit as the catalyst for composition. Moreover, this article observes how these novels exist within a complex intertextual network, demonstrating how contemporary authors artfully recast Old English literary texts into their work and suggesting the influence of earlier retellings for the employment of either one or both motifs.
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