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In this study, the author looks at the role the warrior-hero plays within a set of predetermined political and social constraints. The hero if not a sword-wielding barbarian, bent only upon establishing his own fame; such fame-seekers (including some famous medieval literary figures) might even fall outside the definition of the Germanic hero, the real value of whose deeds are given meaning only within the political construct. Individual prowess is not enough. The hero must conquer the blows of fate because he is committed to the conquest of chaos, and over all to the need for social stability. Even the warrior-hero's concern with his reputation is usually expressed negatively: that the wrong songs are not sung about him. The author discusses works in Old English, Old and Middle High German, Old Norse, Latin and Old French, deliberately going beyond what is normally thought of as "heroic poetry" to include the German so-called "minstrel epic" and a work by a writer who is normally classified as a late medieval chivalric poet, Konrad von Wurzburg, the comparison of which with "Beowulf" allows us to span half a millennium.
An enlarged edition of The Lion and The Lamb: Figuralism and Fulfillment in the Bible, Art, and Literature Beginning with Northrop Frye's discussion of biblical typology--the understanding of the Old Testament as a source of anticipation of the New Testament--Tibor Fabiny develops his hermeneutical discussion using the insights of reader-response criticism in a wholly original way. His approach to biblical typology is both comprehensive and interdisciplinary, using material from literature and the visual arts in the Christian tradition. He moves from a discussion of the Bible to examples of typology in medieval art and literature and finally to the drama of Shakespeare and T. S. Elliot in Murder in the Cathedral.
A detailed, contextualized picture of the very beginnings of writing in German from around 750 to 1100. This second volume of the set not only presents a detailed picture of the beginnings of writing in German from its first emergence as a literary language from around 750 to 1100, but also places those earliest writings into a context. The first stages of German literature existed within a manuscript culture, so careful consideration is given to what constitutes the actual texts, but German literature also arose within a society that had recently been Christianized -- through the medium of Latin. Therefore what we understand by literature in Germany at this early period must include a great...
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In The Germanic Hero Brian Murdoch looks at the role the warrior-hero plays within a set of predetermined political and social constraints. the hero is not a sword-wielding barbarian, bent only upon establishing his own fame; such fame-seekers (including some famous medieval literary figures) might even fall outside the definition of the Germanic hero, the real value of whose deeds are given meaning only within the political construct. Individual prowess is not enough. The hero must conquer the blows of fate because he is committed to the conquest of chaos, and over all to the need for social stability. Brian Murdoch discusses works in Old English, Old and Middle High German, Old Norse, Latin and Old French, deliberately going beyond what is normally thought of as 'heroic poetry' to include the German so-called 'minstrel epic', and a work by a writer who is normally classified as a late medieval chivalric poet, Konrad von Wurzburg, the comparison of which with Beowulf allows us to span half a millennium.
Includes entries for maps and atlases.
Arranged alphabetically, this volume contains articles on various aspects of life in the Middle Ages, from A.D. 500 to 1500 and covering a geographic area including the Latin West, the Slavic world, Asia Minor, the lands of the caliphate in the East, and the Muslim-Christian areas of North Africa.