| Co-Investigator(Kenkyū-buntansha) |
ITO Yasuharu Chubu University, Faculty of International Relations, Professor, 国際関係学部, 教授 (30023518)
UEDA Hiroshi Nagoya University, School of Letters, Research Associate, 文学部, 助手 (40193792)
OGURI Yuichi Nagoya University, Language Center, Professor, 総合言語センター, 教授 (50023601)
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| Budget Amount *help |
¥2,800,000 (Direct Cost: ¥2,800,000)
Fiscal Year 1989: ¥800,000 (Direct Cost: ¥800,000)
Fiscal Year 1988: ¥2,000,000 (Direct Cost: ¥2,000,000)
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| Research Abstract |
1. We pursued our studies for the purpose of apprehending how medieval French courtly romance ("roman courteis") was received and adaptated by German writers, making comparative researches between the works of Chrdtien de Troyes and those written by German writers, Hartmann von Aue and Wolfram Eschenbach, and between an anonymous work which appeared in thirteenth-century France, Lancelot en prose, and Lanzelet in Germany. Though the problem of the German adaptations has been investigated almost only from quantitative and rhetorical points of view, it is now clear that this problem is one which relates to the essence of the works in their rewritten German versions.
French courtly romances were converted into stories which had a tendency toward secularization, in other words, realism. And this suggests another important point. In the time of Hartmann, the late twelfth and early thirteenth centuries, romans d'aventure, which had the same realistic elements, appeared, and as we suppose that
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this happened in conjunction with the change of society which was accompanied by that of the consciousness of the people, so it can be said that the same thing happened in Germany. Thus we think it necessary to reconsider the German method of adaptation of French courtly romances by paying attention not only to the aspect of the reception of the former and the influence of the latter, but also to the social and spiritual parallelism between them in that age.
2. It is well known thai the theme of love is important in French courtly romance and we investigated how the German writers accepted French 'f in'amor' and 'amour courtois'. The Clirdtien-Hartmann pattern, one of the ideals of matrimonial love, is that which was to appear in two distinct'works: Tristan and Conte du Graal. Tristan is the work about anti-social love, and in Conte du Graal secular love contrasts with divine love. And the pattern of 'fin'amor' can be found in modern lyric poetry which is in some ways very mystic and neo-Platonic, after the works of Dante and Petrarch. " Therefore it is important to pursue our comparative studies between French and German works, which also cover the social field of western Europe. Less
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