Nibelungenlied

In The Nibelungenlied savagery and good manners have an integral role in the interactions between characters and the epic as a whole. Proper etiquette is emphasized within the medieval culture, it is used as a sign of respect and admiration to one’s superior or equal. However, Savagery is often either celebrated or discounted completely. There are many instances within the epic when an event or a character’s actions could be perceived as ignoble or undignified, usually, such acts are frowned upon

Nibelungenlied and Parzival Although both the Nibelungenlied and Parzival were composed around the same time (c. 1200), they are vastly different in certain respects—namely concerning the matters of diplomacy, redemption, revenge, and deceit. Some striking similarities do exist among the two texts—concepts of honor (êre), loyalty (triuwe), moderation (mâze) and knightly deeds (âventiure) are valued highly by both societies. However, each notion is accomplished through different measures in

In each text of the following German medieval literature: “Hildebranslied,” “Nibelungenlied” and Tristan courtly virtues of muot, êre, and triuwe are present and have importance within the context which either make a situation acceptable or not. These virtues make characters within each text either admirable or looked down upon. It also makes meaning of the text complex rather than one-sided. Although all virtues are present and emphasized, equal value is not given to the virtues in all texts except

“Myths are stories that express meaning, morality or motivation. Whether they are true or not is irrelevant.” This was quoted by writer Michael Shermer, and it still holds today. This quote displays that myths have the power to take the reader away from reality and launch them into a world of mystery and phenomena. Also, even if myths have different stories and different characters, they all in some way portray regular societal values. For example, “The Fisherman and The Jinnee”, “Sifrit”, and “Song

“Any relations in a social order will endure, if there is infused into them some of that spirit of human sympathy which qualifies life for immortality.” -George William Russell Homer defines a hero as one who acquires and maintains honor through victory in battle while embracing a highly individualistic attitude. Homer’s epic warriors were self-interested in order to preserve their honor and to acquire fame--the currency used by the hero to achieve immortality

cooperation is shown when Gunther is helped by the invisible Siegfried in the winning of Brunhilda. In the book the scene is described “Brave siegfried went up to the king and told him not to be afraid,but to speak his whole mind to the queen”(Nibelungenlied 63). Showing how Siegfried is willing to help his friend win over Brunhilda. This show the friendly and family esque relationship between the two

• Ancient ideals of heroism vs. medieval ideals of heroism – Who can be a hero? What does a hero look like? What actions are heroic? What qualities are heroic? • The Ancient ideals of heroism and the medieval ideals of heroism have many similarities as well as some key differing characteristics. A similar trait is that the heroes are all male in these stories. This is a reflection of the male dominated societies of Ancient Greece and Medieval times. Both types of heroes are put through tests

The Supernatural Through the Ages German literature has evolved significantly throughout the centuries. These changes can be seen in the content, and in the German language itself. Despite these changes, one constant factor has remained, and continued to play a role in German literature from the charms of the Old High German period, to the love poems and stories of the Early New High German. This factor is the element of the supernatural. Supernatural is defined, by The Merriam-Webster Dictionary

Heroes of Celtic and Germanic Mythology Throughout the myths of the Celtic and Germanic peoples of northern Europe tales of epic heroes and their extraordinary deeds abound. These tales depict heroes performing a variety of incredible feats; many of which appear to be magical, superhuman, and, quite honestly, utterly impossible (e.g., wading across oceans, defeating armies virtually single-handedly, and other astounding exploits). Since the Celtic and Germanic tribes of antiquity inhabited

It is highly probable that when German Cinema in general is talked about, Metropolis (1927) is one of the first titles to spring to mind. Fritz Lang is, in his career within and without Germany, a name that evokes authority in filmmaking. Premiering in Berlin with Halblutt in 1919, he would never imagine that one day his mind would craft an epic of the calibre that is Metropolis. A primitive sci-fi narrative with daring sets and expansive cinematography, the magnitude of the film’s editing is sheer