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German Pages 316 [317] Year 2010
Frühe Neuzeit Band 146
Studien und Dokumente zur deutschen Literatur und Kultur im europäischen Kontext Herausgegeben von Achim Aurnhammer, Wilhelm Kühlmann, Jan-Dirk Müller, Martin Mulsow und Friedrich Vollhardt
Die deutsche Griselda Transformationen einer literarischen Figuration von Boccaccio bis zur Moderne
Herausgegeben von Achim Aurnhammer und Hans-Jochen Schiewer
De Gruyter
ISBN 978-3-11-023312-4 e-ISBN 978-3-11-023313-1 ISSN 0934-5531 Bibliogra¿sche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliogra¿e; detaillierte bibliogra¿sche Daten sind im Internet über http://dnb.d-nb.de abrufbar. © 2010 Walter de Gruyter GmbH & Co. KG, Berlin/ New York Druck: Hubert & Co. GmbH & Co. KG, Göttingen f Gedruckt auf säurefreiem Papier Printed in Germany www.degruyter.com
Inhalt
Einleitung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
VII
I. Die Griselda-Figuration bei Boccaccio und Petrarca . . . . . . . . . . .
1
Raffaele Morabito Griselda: Boccaccio und die Folgen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Lucia Battaglia Ricci Griselda und der Marchese von Saluzzo Die Perspektive des Dioneo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Mario Zanucchi Von Boccaccios ›Griselda‹ zu Petrarcas ›Griseldis‹ . . . . . . . . . . . . . . . . . .
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II. Spätmittelalterliche Varietäten der Griselda-Figuration . . . . . . . .
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Thomas Klinkert Die italienische Griselda-Rezeption im 14. und 15. Jahrhundert . . . . . . .
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Christa Bertelsmeier-Kierst Steinhöwels Griseldis im Kontext europäischer Hofkultur des 15. Jahrhunderts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
73
Ricarda Bauschke Dominanz und 8nterwerfung ² Prfung und 4ualiÀkation Tendenzen der Griseldis-Konzeption im deutschen und französischen Spätmittelalter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
93
Nina Allweier Griseldis lernt sprechen Liebe und Ehe in der Grisardis des Erhart Groß von 1432 . . . . . . . . . . . .
107
Ursula Kocher Griseldis im medialen Wechselspiel von Bild und Text . . . . . . . . . . . . . .
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VI
Inhalt
III. Frühneuzeitliche Korrekturen der Griselda-Figuration . . . . . . .
141
Michael Dallapiazza Hans Sachsens FRPedidieJedXlWiJXQdJeKRrsaPParJJrlÀQGriselda . . . . . . . .
143
Achim Aurnhammer Griseldis auf dem Schultheater: Georg Mauritius: Comœdia von Graff Walther von Salutz / vnd Grisolden (1582) . . . . . . . . . . . . .
153
Klaus Grubmüller Griseldis in der deutschen Literatur des 16. Jahrhunderts . . . . . . . . . . . .
171
IV. Von der Romantik bis zur Moderne: Die Griselda-Figuration zwischen Emanzipation und Geschlechterkampf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
181
Dieter Martin Griseldis in der klassisch-romantischen Ballade . . . . . . . . . . . . . . . . . . . .
183
Mario Zanucchi Griseldis im Zeitalter der Restauration Markgraf Walther und Griseldis (1819) des Otto Heinrich von Loeben . . . .
203
Luigi Reitani Griseldis am Artus-Hof Friedrich Halm: Griseldis. Ein dramatisches Gedicht (1835/37) . . . . . . . . . . .
223
Leonard Keidel Griseldis in den Volksbüchern Karl Simrocks und Gustav Schwabs . . . .
229
Peter Sprengel Gerhart Hauptmanns Griselda Zur Mehrdeutigkeit einer »deutlichen Komödie« . . . . . . . . . . . . . . . . . . .
243
Rudolf Denk Ludwig Berger: Griseldis. Ein Volksstück in vier Akten (1921) . . . . . . . . . . .
273
Zusammenfassungen der Beiträge in italienischer Sprache Riassunti dei contributi in lingua italiana . . . . . . . . . . . . . . . . . . . . . . . . . . . .
287
Abkürzungen und Siglen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
297
Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
299
Einleitung
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Griselda: Boccaccio und die Folgen
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Mario Zanucchi
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Thomas Klinkert
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Bibliographie
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Nina Allweier
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Michael Dallapiazza
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:LH1LFROD\GHQ6FKOX]XHLQHPUKUHQGHQ)DPLOLHQWDEOHDXDXVGHP*HLVWGHU (PS¿QGVDPNHLWJHVWDOWHWZLHHUGLH3UIXQJVGDXHUGHXWOLFKYHUNU]WXQGGDPLW GLH+lUWHGHU3UREHQPLOGHUWVRVXFKWHUDXFKGLH&KDUDNWHUHGHU+DXSWSHUVRQHQ psychologisch zu plausibilisieren und den Ablauf des Geschehens etwas wahrVFKHLQOLFKHU ]X JHVWDOWHQ 'HP GLHQW HUVWHQV GLH 1HEHQ¿JXU GHV 5LWWHUV 6WHUQ XQG]ZHLWHQVGHULQWHQVLYH(LQEOLFNLQGLH*HIKOHGHU+DXSW¿JXUHQ 5LWWHU 6WHUQ ¾HQWODVWHW½ VHLQHQ )UHXQG *UDI $QWRQ ZHLO HU LKQ DXI VHLQHU %UDXWZHUEHIDKUWEHJOHLWHWXQG]X-DQNHVª+lXVFKHQ© IKUWZHLOHUVFKRQ LQGHU([SRVLWLRQGLH*WHHLQHU(KH.DQGLGDWLQªPLW>V@HLQHP/HLE©YHUEUJHQVROO XQGZHLOHUGDQQXPVWDQGVORVDQELHWHWª0LW/HLEXQG*HOG©IU *ULVHOGH]XªEUJ>HQ@© 6ROOWH*ULVHOGHVRIRUPXOLHUWGHU*UDIDXVGLHVHP $QJHERWHLQHVWRIIJHVFKLFKWOLFKQHXH:HWWHLKQPLWGHQHLQJHERUHQHQZHLEOLFKHQ/DVWHUQª6WRO]©ª(LJHQVLQQ©XQGª+HUUVFKEHJLHU©XQG ªTXlOH>Q@© GDQQZlUHHLQH=DKOXQJGHV5LWWHUVIlOOLJ=ZDUP|FKWH6WHUQGDV:HWWVSLHO VWRUQLHUHQDOVVHLQ)UHXQGHVª]XWROO©WUHLEWDEHUGDKDWVLFKGLHVH)UDJHIU GHQ *UDIHQ EHUHLWV YHUVHOEVWlQGLJW ]X HLQHU $QJHOHJHQKHLW YRQ ª5XKP© XQG 13
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Dieter Martin
ª(KUH©14 die sich weniger um Griselde als um seine pauschalen misogynen hEHU]HXJXQJHQGUHKWª%HNHQQHQVROOVWGXPLU_=XOH]WGDNHLQHGLHGDOHEW_ 1LFKWZLGHUVWUHEW©I *UDI$QWRQGHULQ1LFROD\VHPS¿QGVDPHU%DOODGHGHQ7\SXVGHVYRUXUWHLOVEHODGHQHQDEHUQRFK]XNXULHUHQGHQ)UDXHQKDVVHUVUHSUlVHQWLHUWRUGQHWGLHVHU Generalisierung nicht nur die Gefühle der Griselde, sondern auch seine eigenen VHHOLVFKHQ5HJXQJHQXQWHU'DEHLGH+DXSW¿JXUHQLP*UXQGHDEHUEHUHLWVHLQH (PS¿QGXQJVJHPHLQVFKDIWELOGHQZlKUHQGVLHLKUH*HIKOHQRFKYRUHLQDQGHU YHUEHUJHQIDWGHU*UDI±DOV6WHUQLKPYRUKlOWªKlUWHUQRFKDOV6WHLQXQG6WDKO© ]XVHLQ ±LQHLQHFKLDVWLVFKH)RUPHOZHOFKHGLHLQGHQ9HUVDXVJDQJJHUFNWHVHQWLPHQWDOH=HQWUDOYRNDEHODOV$QDGLSORVHLPDQVFKOLHHQGHQ9HUVHLQJDQJ ZLHGHUKROWª8QGJODXE¶PLUZHQQ*ULVHOGHOLWW_/LWW¶LFKVRYLHODOVVLH© 'DVJHWUHQQWHXQGGRFKJHPHLQVDPH/HLGHQGDVGHU*UDIPLW+LQZHLVDXIHLQH *ROGSUREHUHFKWIHUWLJHQP|FKWH WULIIWIUHLOLFK*ULVHOGHXQJOHLFKVWlUNHUXQG HVlXHUWVLFKEHLLKUXQJOHLFKLQWHQVLYHUDOVLQGHU6WRIIWUDGLWLRQEOLFKGLHGHU +HOGLQODQJHHLQHIDVWHPRWLRQVORVH'XOGVDPNHLW]XJHVFKULHEHQKDWWH1LFROD\V *ULVHOGHEHNHQQWVFKRQEHLGHQHUVWHQ3UIXQJHQGDGLHHU]ZXQJHQH'LVWDQ] YRP9DWHUVLHªVFKPHU]HQZLUG©ª'RFKGHQ6FKPHU]_9HUVFKOLHWPHLQ+HU]© 6LHOlWLKUª7KUlQFKHQ©QLFKWDXVEUHFKHQVRQGHUQªOlFKHOW© DOVGHU *UDIDEVLFKWOLFKQDKHDPYlWHUOLFKHQ+DXVYRUEHLIlKUW8QGVLHªXQWHUGUFNWGHQ 6FKPHU]© QRFK DOV PDQ LKU ª:UPOHLQ© YRQ 7RFKWHU IRUWEULQJW XP HUVW ªQDFKPDOVLQGHU(LQVDPNHLW©GLHª7KUlQHQÀXW©DXVLKUHPª0XWWHUKHU]©KHUDXVEUHFKHQ]XODVVHQ 'RFKDOVGHU*UDIVLHDXVGHP+DXVVFKLFNWGDªPDFKW LKU7KUlQFKHQ©GLH+DQGLKUHVYHUPHLQWOLFKJHIKOVNDOWHQ1RFK(KHJDWWHQVR ªQD XQG ZDUP© GD HU ª.DXP >«@ VHOEHU 6WDQG© KDOWHQ NDQQ ª.DXP GD HU QLFKW YRQ /LHE¶ HQW]FNW _ $QV +HU] VLH GUFNW© $OV =HLFKHQ HFKWHU +XPDQLWlWGLHVLFKXQWHUGUFNHQDEHUNHLQHVIDOOVJDQ]WLOJHQODVVHQEHZlKUHQ VLFKGLHª7KUlQFKHQ©GDQQDXFKEHLP]XQlFKVWYHUVWHOOWHQ:LHGHUVHKHQPLWGHP eigenen Kind, das Griselde sogleich intuitiv15DOVGDVHLJHQHHUNHQQWª'HLQ+HU] KDWUHFKWJHIKOW© EHVWlWLJWGHU*UDIGLH0XWWHUJHIKOHVHLQHUWUHXHQ*DWWLQ XQG]XJOHLFKGLH]LHOIKUHQGH4XDOLWlWGHUYRQLKPLQV]HQLHUWHQ3UIXQJ Nicolay, so ist festzuhalten, gestaltet die Griselda-Figuration nicht mehr, wie LQGHU6WRIIJHVFKLFKWHYRUJHJHEHQDOV3UREHEHUPHQVFKOLFKDSDWKLVFKHU7XJHQG 6FKRQLP3URORJGHUKDOEVFKHU]KDIWGLHhEHUWUDJEDUNHLWGHV([HPSHOVDXIVHLQ HLJHQHV (KHOHEHQ EHKDXSWHW XQG GLH bKQOLFKNHLW GHU OLWHUDULVFK YRUJHSUlJWHQ 14
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Dieter Martin
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Dieter Martin
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Mario Zanucchi
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Luigi Reitani
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Peter Sprengel
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Peter Sprengel
Bibliographie
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