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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.

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.

Although much work has recently been done on the relationship between poet, narrator and audience in medieval literature, no sustained attempt has yet been made to inquire into the ways in which the listener's responses are rhetorically controlled and guided in the case of the Parzival of Wolfram von Eschenbach. This book attempts such an inquiry by combining five approaches which have so far been used only separately or partially: the narrator's use of a point of view technique, a specific problem concerning the medieval technique, a specific problem concerning the medieval reception of his...

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...

Despite the fashionable standing of irony in studies of modern literature and its occasional application to medieval studies in a number of recent works, no sustained analysis of this phenomenon has yet been attempted for medieval literature. Professor Green attempts to fill the most important part of this lacuna by discussing irony in the medieval genre in which it is employed most frequently and with the greatest sophistication, the romance. The approach is therefore directed more towards the genre as such than to any specific example, and, although the book is written primarily from a...