When we now think of knights, we automatically think of knights in shining armours, saving damsels in distress while killing dragons and other mythical creatures. But is this image we have of these heroes correct? Was the Medieval hero really just a tough guy who saved beautiful ladies and killed the ´bad guys´. In this paper I will try to give a standard description of what a Medieval hero really was. After which I will try to determine if Parzival really was a medieval hero, compared to the standards that I have tried to set.
This dissertation builds upon the work of feminist medievalists and other literary and cultural scholars to argue that sight, and objects that are seen, articulate love relationships between characters in medieval romances, and that seeing is frequently a locus of resistance to gender norms the texts both establish and refuse to accept.
The Arthurian oeuvre traditionally maintains a plot structure that requires knights to depart from the Round Table, either as a response to a challenge or in quest of chivalric “aventure,” followed by a return to Camelot. Within this narrative framework, there exists an intricately designed logic to descriptions of movement and travel. In particular, sex and travel appear inseparable.
Orgeluse and the Trial for Rape at the Court of King Arthur: Parzival 521, 19 to 529, 16 Westphal-Wihl, Sarah Arthuriana 20.3 (2010) Abstract The rape in book ten of Wolfram’s Parzival elicits varied legal remedies: a trial at Arthur’s court transitions into a reconciliation that in turn fuels a feud. This essay uses literary evidence […]
Daniel Mangrané and Carlos Serrano de Osma’s Spanish Parsifal (1951): a Strange Film? Zarandona, Juan Miguel Arthuriana 20.4 (2010) Abstract The Spanish cinematic work entitled Parsifal (1951) has always been termed ‘strange’ and regarded as an artistic failure. However, reconsideration of the context in which this film was produced suggests it is worthy of greater attention. After […]