Значение слова "DER VON KÜRENBERG" найдено в 2 источниках

DER VON KÜRENBERG

найдено в "Encyclopedia of medieval literature"

(late 12th century)
   Der von Kürenberg was one of the earliest German COURTLY LOVE poets. His songs were copied in the famous early 14th-century Manessische Liederhandschrift (Manesse song manuscript), also known as Grosse Heidelberger Liederhandschrift (ms. C), one of the most important collections of the earliest Middle High German courtly love songs (Minnelieder). These songs, composed between 1170 and 1200, today are collectively called Des Minnesangs Frühling (Spring of courtly love songs).
   Der von Kürenberg originated in lower Austria. His songs, composed between 1150 and 1175, have the same poetic structure as the one utilized by the NIBELUNGENLIED poet (ca.1200), that is, three- or four-beat half-lines, two of which regularly make up a rhyming couplet. In contrast to most courtly poets, Kürenberg’s poems are clearly divided into separate stanzas, 15 in total. In some of these a female voice speaks (Frauenstrophen), and in others we hear a man speak (Männerstrophen), and sometimes the stanza consists of a dialogue between man and woman (Wechsel). Kürenberg discusses the fundamental problems of courtly love, such as the physical distance between the lovers, misunderstandings, loneliness and longing, and domestication through love. The latter aspect is most beautifully expressed through the image of a preying falcon whom the lady has raised for more a year, but who then flies away into distant lands (6). In the following stanza (7) the poetic voice says that she or he saw a falcon flying high, with bands of silk attached to his foot, which could represent either the soft but firm bonds between two lovers, or the loss of the beloved. In one stanza the male voice expresses his anger because his lady has ordered him to leave her country (10), and in another stanza he admits that he stood next to her bed one night but did not dare to wake her up (3), to which she responds that there was no reason for his hesitation. As in most other courtly love songs, Kürenberg formulates that love and sorrow are intimately entwined.
   Bibliography
   ■ Moser, Hugo and Helmut Tervooren, ed. Des Minnesangs Frühling. 38th ed. Stuttgart, Germany: Hirzel, 1988.
   ■ Sayce, Olive. The Medieval German Lyric 11501300. The Development of Its Themes and Forms in Their European Context. Oxford: Clarendon Press, 1982.
   ■ Willson, H. B. “Wooing in Some Poems of Der von Kürenberg,” Journal of English and Germanic Philology 83, no.4 (1984): 469–481.
   Albrecht Classen


найдено в "Universal-Lexicon"

Der von Kürenberg,
 
Der Kürenberger, mittelhochdeutscher Lyriker der Mitte des 12. Jahrhunderts In der Manessischen Handschrift sind unter diesem Namen 15 Strophen überliefert, neun von ihnen auch in einer erst 1985 bekannt gewordenen Budapester Handschrift. Der Dichter wird als ältester Vertreter des »donauländischen Minnesangs« (ohne Sicherheit) einem österreichischen Ministerialengeschlecht zugewiesen.Die einstrophigen Lieder sind in zwei Strophenformen abgefasst, von denen die eine, dreizehnmal verwendete, im Grundriss mit der Nibelungenstrophe identisch ist. Thematisch handelt es sich um unterschiedliche Situationen der Liebe, über die ganz unbefangen gesprochen wird, auch in den als Rollenlyrik aufzufassenden Frauenstrophen. Sein bekanntestes Lied ist das zweistrophige »Falkenlied«, das in der germanistischen Forschungsgeschichte wiederholt unterschiedlich interpretiert wurde, dessen Deutung als Klage einer Frau um den Geliebten aber am wahrscheinlichsten ist.
 
Ausgabe: Des Minnesangs Frühling, herausgegeben von H. Moser u. a., Band 1 (381988).
 
Literatur:
 
H. Tervooren: Bibliogr. zum Minnesang u. zu den Dichtern aus »Des Minnesangs Frühling« (1969);
 B. Weil: Das Falkenlied des Kürenbergers (1985).


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