Includes bibliographical references (pages 342-350) and index.
CONTENTS NOTE
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Cover; Half-title; Title; Copyright; Contents; Preface ; Abbreviations ; 1 Possibilities ; The narrator's point of view technique; The medieval reception of 'Parzival'; Revealing while concealing; The technique of naming; The theme of recognition; 2 Gahmuret (Books I and II) ; Gahmuret and Kaylet; Gahmuret at Kanvoleis; Gahmuret and the Anschouwe knight; 3 Parzival's youth (Books III and IV) ; Parzival and Jeschute; Parzival and Sigune; Parzival and Ither
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7 Parzival's success (Books XIV-XVI) Parzival and Gawan; Parzival and Gramoflanz; Parzival and Feirefiz; Cundrie at the Round Table; Parzival at Munsalvsesche; Parzival and Trevrizent; Loherangrin in Brabant; 8 Conclusions ; Realistic details; Possibilities of recognition; Parzival's process of self-recognition; Parzival's naming; Appendix A The recognition of Parzival at Munsalvæsche and by Trevrizent; Appendix B Trevrizent's 'lie' ; Bibliography ; Index
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Parzival at PelrapeireParzival and Condwiramurs; Parzival and Clamide's men; Kingrun and Clamide; 4 Parzival's failure (Books V and VI) ; Parzival at Munsalvaesche; Parzival and Sigune; Parzival, Jeschute and Orilus; Parzival and the Round Table; 5 Gawan (Books VII-VIII and X-XIII) ; Bearosche; Schanpfanzun; Gawan and Urians; Schastel Marveile; Gawan and Gramoflanz; Gawan's surprise; 6 Parzival and Trevrizent (Book IX) ; Parzival and Sigune; Parzival and Trevrizent
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SUMMARY OR ABSTRACT
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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 work, a procedure best described as 'revealing while concealing', the technique used in naming characters, and the theme of recognition in Parzival. These approaches are combined and applied in detail to the narrative sequence of Wolfram's romance. Although the narratives dealing with Gahmuret, Parzival and Gawan are all dealt with, the lion's share falls to Parzival as the hero of the work (whereby special importance is attached to his crucial dialogue with the hermit Trevrizent in Book IX), but due regard is also paid to Gawan as a means of highlighting the special position of the hero. The discussion throughout is organised around the various encounters in the work in which recognition or non-recognition plays a part.