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<p>Medieval pastourelles depict the unexpected encounter of love in the free nature between a knight (or cleric) and a simple ›maiden from the countryside‹, sometimes leading to the man’s rejection by the girl. The temporary encounter of genders, between <i>corteisie</i> (or <i>clergie</i>) and <i>vilenie</i>, whether ending in love or frustration, is much more than a mere structural element of the pastourelle genre. The pastourelle poetry of the German Middle Ages demonstrates that the constant, class-based overlay of characters, although the most important, is only one of many possible manifestations of pastoral discourse. Unlike Minnesang, Tagelied, and generally metaphorical speech (in transfers), this mode of speaking is fundamentally marked by interference (overlay). Further interference phenomena on linguistic, sonic, and spatial-semantic levels intensify the class-based interference. In Konrad Harder’s Marian pastourelle, there is interference not only between two impulses (courtly and rustic) but, together with the Marian impulse, even between three impulses, leading to the fusion and simultaneously to the confusion of the relationships between characters and spaces.</p>

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Interferenz und Konfusion – metaphorische Zugänge zu den inhärenten Grundoperationen pastourellesker Dichtung im deutschen Mittelalter

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  • 发表日期：

    2025年9月1日

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  • Stefan Abel

摘要

Medieval pastourelles depict the unexpected encounter of love in the free nature between a knight (or cleric) and a simple ›maiden from the countryside‹, sometimes leading to the man’s rejection by the girl. The temporary encounter of genders, between corteisie (or clergie) and vilenie, whether ending in love or frustration, is much more than a mere structural element of the pastourelle genre. The pastourelle poetry of the German Middle Ages demonstrates that the constant, class-based overlay of characters, although the most important, is only one of many possible manifestations of pastoral discourse. Unlike Minnesang, Tagelied, and generally metaphorical speech (in transfers), this mode of speaking is fundamentally marked by interference (overlay). Further interference phenomena on linguistic, sonic, and spatial-semantic levels intensify the class-based interference. In Konrad Harder’s Marian pastourelle, there is interference not only between two impulses (courtly and rustic) but, together with the Marian impulse, even between three impulses, leading to the fusion and simultaneously to the confusion of the relationships between characters and spaces.