Nibelungenlied

One of the first adaptations of the medieval German heroic epos “Das Nibelungenlied” was undertaken by Hohlbein in 1989 under the pseudonym Martin Heidner. His novel “Drachentöter” (“The Dragonslayer”) retells the story of Siegfried’s youth and his maturation from a youthful, reckless adventurer to a responsible adult. This popular juvenile tale has virtually nothing in common with the medieval epic. It is poorly written and full of standard, black-and-white clichés. The novel was followed by a few more adaptations of the epos: “Der Ring der Nibelungen” 2004, “Die Rache der Nibelungen” 2007 and “Das Erbe der Nibelungen” 2010.
One of his most renowned books, the one Wolfgang Hohlbein himself calls his best in his interviews, is “Hagen von Tronje”, one more adaptation of “Das Nibelungenlied”. This work, ardently loved by many teenagers and young adults worldwide, has been influential in forming teenagers’ impressions of medieval literature in general and “Das Nibelungenlied” in particular.
The plot of the book can be summarised as follows:

Part of a broader, not yet completed study of the Germanic-German heroic saga. "Revisiting" the legends substrate of the Nibelungenlied (NL). Where was the empire of the Burgundians? "Rosengarten" legend and Worms in the Lampartenlant (today Bormio in Lombardy). The sinking of the (historical) Burgundians and the "Burgunden" in the NL. Gundaharius and Gunther and the battle of the Huns. Wien in the Nibelungenlied. According to NL the dragon slayer Siegfried comes from "Santen". The trail thus leads to the capital of the Regnum Tolosanum Sántoni (today Saintes). In fact, several stone reliefs in the former Visigothic area show that the myth of the dragon slayer lived on here until the High Middle Ages.

The aim of this work is to examine the figure of the dragon, the beast that crossed the centuries
from the early myths, passing through all the Middle-Ages and finally landed to the shores of
fantasy literature with the books of J. R. R. Tolkien above all.
Far from being considered a complete research work, due to the vast amount of information and
books on the subjects, this essay focuses on the Nordic dragon of manuscripts such as Beowulf
(Cotton Vitellius A. xv.), the Nibelungenlied, the Völsungasaga and the section on The Elder Edda
named Fáfnismál.

Dieser Text, der aus verschiedenen Bearbeitungen des Nibelungenliedes kompiliert ist, entstand ursprünglich für den Workshop Im Laboratorium: Entwurf und Experiment als ästhetische Zugriffsweisen auf ‚Welt', der im Herbst 2015 an der Universität Bayreuth stattgefunden hat (https://kolloquiumgekuwi.wordpress.com/). Sein Zweck war etwas, das ich in meinem im Entstehen befindlichen Projekt mit dem Arbeitstitel Transformationen des ‚Nibelungenliedes' im 15./16. Jahrhundert und seit 1945 untersuche, im Rahmen einer " eigenen " Wiedererzählung unmittelbar am Gegenstand bzw. an den Gegenständen selbst evident werden zu lassen.

Monumento della letteratura tedesca, il "Nibelungenlied" racconta di amori e tradimenti, di intrighi e vendette. Composto probabilmente agli inizi del XIII secolo, il poema è la più antica testimonianza scritta di leggende a lungo trasmesse oralmente e incentrate sulla vicenda dell’eroe Sigfrido e sull’annientamento del popolo dei Burgundi.
Il volume inquadra l’opera nel contesto storico-culturale in cui è stata redatta e, allo stesso tempo, affronta temi essenziali quali la tradizione manoscritta, le radici storiche della leggenda, le principali questioni critiche nonché la riscoperta moderna e il significato ideologico che il poema ha assunto nel corso del XIX e XX secolo.
"I Nibelunghi. La leggenda, il mito" si configura come una guida sicura ed affidabile per avvicinarsi al mondo della letteratura medievale, approfondendo la conoscenza di uno dei suoi testi più affascinanti.

Das Nibelungenlied poses something of an enigma among works by German medieval poets. Why its tone of doom and gloom devoid of Christian hopes of consolation and why its surprising relevance to the world of today? On the other hand could it be viewed as an attempt to subdue the past and find peace in the present. In the case that this document cannot be uploaded, please use the DOWNLOAD option. Alternatively the article is to be read on a sister document from page 19 to 23. See. https://www.academia.edu/43734897/MEDIEVAL_CROSSROADS

The present volume is the first of four on the medieval Icelandic fornaldarsögur, a corpus of Old Icelandic sagas that were written mostly in the 13th and 14th centuries. The sagas deal with legendary and fictional heroes and are based on legends that were common to the Nordic and ultimately the Germanic peoples, and which had strong roots in oral tradition and the oral poetry of previous ages. Though many of these legends now survive primarily in narrative form in the fornaldarsögur, they can also be glimpsed in other literature, in archaeological finds, and in medieval art from the Scandinavian countries, Germany, France and the British Isles. The four-volume collection, Arfur aldanna I–IV, seeks to explore, firstly, the origins of this legendary material and how it spread throughout Northern Europe, and secondly, the Icelandic legendary saga corpus, in which this narrative material found its richest and most memorable representation.

Questo elaborato propone uno studio sui ruoli di genere all’interno del Nibelungenlied, analizzando alcune differenze tra uomini e donne e dimostrando come l’opera rappresenti, apparentemente, un superamento di questi ruoli.
Si farà riferimento a donne quali Uote, Sieglind, Helche e Gotelind, che rispecchiano la visione tradizionale medievale del genere femminile.
La parte centrale sarà invece dedicata alle figure di Crimilde e Brunilde, personaggi femminili principali del Nibelungenlied, donne ribelli e violente, rappresentanti di una femminilità eccessivamente indipendente e troppo sicura, donne che oltrepassano i confini di genere, nonostante durante la vicenda sperimentino cambiamenti diversi.
Infine, si dimostrerà che, pur essendo avvenuto un superamento apparente dei ruoli di genere, il comportamento delle donne che escono fuori dagli schemi, viene visto con disapprovazione, sia dall’autore dell’opera, che dalla società medievale stessa, e che la rappresentazione dei generi fornita dal Nibelungenlied potrebbe costituire una anticipazione delle disuguaglianze di genere presenti nel mondo moderno.

Die Studie untersucht drei wichtige Punkte in der Erzählung von der Donau-Überquerung der Nibelungen (Nibelungenlied, 25. Abenteuer):
-1) Hagens Begegnung mit dem Fährmann, der sich als sein „anderes Ich“ sehen lässt, als Vorzeichen seines nahen Todes,
-2) die Eigenschaften und die Rolle der Nixen überhaupt, die aller Wahrscheinlichkeit  nach aus der slawischen Volkssage entlehnt sind und
-3) die Symbolik der Donau als Grenze mit der Totenwelt, die ebenfalls von der slawischen Volkssage beeinflusst zu sein scheint.

Wie sah die Mobilität im Mittelalter aus? Welche Reiseaspekte transportiert die mhd. Literatur des bayerisch-österreichischen Donauraums? Neben dem Nibelungenlied und der Venusfahrt Ulrich von Liechtensteins berücksichtigt der Aufsatz Ottokars Österreichische Reimchronik, die sog. „Seifried Helbling“-Gedichte, die Schriften Jans Enikels, die Wiener Meerfahrt des Freudenleeren, Meier Helmbrecht von Wernher dem Gärtner sowie die Lieder Walthers von der Vogelweide und Neidharts von Reuenthal.

Die literarisch-fiktionalen Räume werden hinsichtlich folgender Aspekte untersucht: reisende Helden, Arten der Fortbewegung, Land- und Wasserwege, Pferde und Transportmittel, Reiserahmen der Erzählung sowie dargestellte Mobilitätskultur. Der literarische Reiserahmen wird mit dem Verkehr im Hoch- und Spätmittelalter in Beziehung gesetzt. Die Autoren der Texte kamen selbst viel herum und schufen für ihr Publikum teils real anmutende „Reisebilder" und „Reisetöne“.

The article is an experience in historical, cultural and political analysis of the medieval German epic “Das Nibelungenlied”. The authors study the social origins and political status of the ruling elites as described in the epic, and single out a correlation between the social composition of the governments and their respective political modus operandi. The article lays the main criteria according to which the social elites are stratified, as it is demonstrated in the text of the poem: we suggest that the poem describes two political organisms stratified according to two different criteria. While in the Huns’ state a vassal’s proximity to the king and participation in the political process come due to his wealth and his aristocratic lineage, in Burgundy practical management is more meritocratic in nature, and able outsiders or bastards of noble families have all the chances to make a prominent political career. Finally we will clarify the details of political process in a few countries depicted in the text, in order to describe and explain the mechanism of decision-making. Thus we will employ a complex historical, cultural and political approach to the Nibelungenlied studies.

RIASSUNTO: Ogni tentativo di individuare un gruppo di testi che, nell'ambito delle letterature germaniche medievali, possano essere definiti come "poemi epici" incontra difficoltà apparentemente insormontabili. Tali difficoltà sono dovute principalmente al fatto che il concetto stesso di epica è stato elaborato a partire da esempi appartenenti alle culture classiche e, in un momento successivo, anche a partire da esempi romanzi. L'articolo, dopo una discussione generale dei criteri di classificazione adottati da trattazioni comparatistiche e storico-letterarie, prende in esame tre testi narrativi in versi appartenenti a tre distinte tradizioni germaniche-Beowulf, Nibelungenlied ed Erikskrönika-cercando di mettere in luce le difficoltà di collocazione in un tradizionale sistema di generi. Opinione dell'autore è che solo adottando criteri di definizione non rigidi, che tengano conto caso per caso delle interazioni tra generi e tradizioni, è possibile parlare di "epica germanica". ABSTRACT: Any attempt to identify a group of texts that, in the context of medieval Germanic literatures, could be defined as "epic poems" encounters seemingly insurmountable difficulties. Such difficulties are mainly due to the fact that the concept of epic itself was developed starting from examples belonging to classical cultures and, at a later time, also starting from Old French examples. The article, after a general discussion of the classification criteria adopted by comparative and historical-literary treatises, examines three narrative texts in verse belonging to three distinct Germanic traditions: Beowulf, Nibelungenlied and Erikskrönika. The aim of the analysis is to highlight the difficulties of placing them into a traditional system of genres. The Fulvio Ferrari 104 author's opinion is that only by adopting non-rigid definition criteria, which take into account the interactions between genres and traditions on a case-by-case basis, is it possible to speak of a "Germanic epic".

Sigfrido è, senza dubbio, l’eroe per eccellenza della letteratura tedesca medievale; figura da sempre molto dinamica e di brillante multiformità, il re del Niederland è figura centrale di una materia, quella nibelungica, che mostra lungo tutto il corso del Medioevo una formidabile capacità di adattamento e di sviluppo. In questa sede mi occuperò in modo speciale della vitalità e del divenire del personaggio Sigfrido agli inizi dell’Età moderna attraverso tre testi tra loro intimamente collegati (Das Lied vom Hürnen Seyfrid, la tragedia di Hans Sachs Der hüernen Sewfrid e il ‘Volksbuch” Der gehörnte Siegfried), testi cui spettano nella storia della trasmissione dell’argomento nibelungico, direttamente o indirettamente, diversi primati. In particolare mi soffermerò su due episodi - l’episodio del rinvenimento e dell’abbandono del tesoro e quello (l’episodio) della lotta contro il drago –  testimoni decisivi della straordinaria capacità di adattamento del leggendario eroe alle mutate condizioni religiose, politiche e sociali della Germania dei secoli XVI e XVII.

The paper deals with five motifs of the heroic world of the Balkans: the first two («The test of the sword» and «The warriors turn up to the banquet in arms») -from the cycle of folk songs about the Serbian hero Marko Kraljević- present close affinities with an eddic narrative and an episode of the Nibelungenlied; the third («The Serbian “Roland” cleaves the Turkish “Chernuble”») -found in a Serbian song from the Ottoman domination- is similar to a well-known episode of the Song of Roland. The fourth («The hero falls asleep in the arms of the girl a little before the enemy arrives») -appearing in two Serbian tales and a Vlach one from Thessaly- resembles to the excerpt from the Waltharius, where Walther falls asleep in Hiltgund’s bosom after having asked her to be on the watch and wake him up on seeing the enemies. As for the last («The Excalibur sword in Serbia and Thessaly») -appearing in many tales of these regions-, it is almost identical to the Arthurian relation of the Excalibur sword, as well as to the Nibelungen legend as reconstructed by A. Ehrhard.

Frequent economical, political and cultural exchanges between German and Scandinavian people during the Middle Ages led to the large scale changes that affected many parts of people’s lives and resulted in the appearance of German-Scandinavian frontier culture with its specific features.
This article, using the example of Middle German heroic epic “Das Nibelungenlied” and the corpus of adjoining texts that comprise “the legend of Nibelungs ” aims at describing how literature transgresses boundaries, how frontier literature and folklore function in their new space, how canon texts are restructured following the effects of migration and how the ancient and the new plots can be blended in new works of art.
We begin with a short review of the existing manuscripts of the medieval German heroic epos ""Das Nibelungenlied” with special attention paid to Darmstadt manuscripts (XIV-XV A.D) that contain a specific mixture of oral and written traditions of the legend. The article proceeds with description of how Nibelungen legend was transformed in the folklore of Faeroe Islands. Further the article discusses the contents of medieval Danish ballads of the Hven island "Grimhild’s Vengeance” (“Grimhildis Hæven”).
Our brief analysis shows the intricate process of re-archaization of a literary plot when it is introduced in an isolated, relatively archaic societies. The legend of Nibelungs was transmitted both in oral and written tradition beginning from the Dark Ages through High Middle Ages and on into the late Medieval period. During this time-span the once simple barbaric story of greed, fate and revenge gets more and more elaborate, rich in psychological insights and undertones, until it reaches its artistic climax in “Das Nibelungenlied”.  But when brought to the North Europe, especially into its more encapsulated communities, it undergoes the backwards change and gives rise to a series of archaic retellings. The personages’ motifs become simple and one-faceted, the plots start following a limited number of formulae typical for the folklore pieces.
In the likewise manner, Scandinavian ballads show two paradoxical features of archaic consciousness and archaic historical memory. Here the general dominates over the particulars; a literary formula – over the subject and psychological depths of fiction, an archetype – over a historical event. But at the same time we can observe how carefully national poetics treats names and details, especially those that amazed and impressed the listeners and the storytellers.
Finally we make conclusion about creative and mental attitudes of the medieval folklore authors essentially different from those of modern writers. Composing new songs on the basis of old classical works, they didn't consider themselves innovators - on the contrary, they believed that they translate real facts about real people and their deeds. That is the reason of their aspiration to keep the names and details that have already lost their meaning or plot values in a new context. In other words, the anonymous folk poets of German-Scandinavian frontier created new works and new plots unbeknownst to themselves; involuntarily they submitted to the imperceptible pressure of culture and transformed initial plots according to the ancient, archetypical models.

Certain fake ideas about the medieval past become a central reference point for these nations as they strive to create distinctive national identities in support of their various goals. Medieval culture is co-opted as a “usable past” and made to serve national ideologies. -- An introduction for general audiences.

This article attempts to provide a fresh perspective on the thorny issue of what exactly preceded the category of texts labeled “Germanic heroic poetry.” The argument follows the character of the dragonslayer (Sigurd/Sigmund) through its manifold avatars in the Nibelung cycle of texts, from the earliest skaldic poets and the “Sigemund episode” in Beowulf to Völsunga saga and the Nibelungenlied. It argues that there are three separate narrative cores which collided into the grand narrative of the Nibelung cycle: a dragon-slayer Indo-European-type legend and two narrative traditions of two separate historical events (the fifth-century fall of the Burgundian kingdom and the seventh-century events at the Frankish court surrounding the death of the Merovingian king Sigibert, his wife Brunichildis, and her rival, Fredegunde). This argument is accompanied by a revaluation of past scholarship - both “Old” and “New Philological.” The article aims to go beyond source-criticism to a deeper understanding of how the Germanic heroic tradition works. Ultimately, it advocates a third way - a rhizomatic understanding of Germanic heroic narrative ecologies as processes of narrative and cultural exchange and transformation, rather than clear-cut categorizations and genealogies of textual artifacts.

Dans cet article, j'aborde deux points différents complétant mes recherches sur le PIE :
- J'établis une gradation des adjectifs dénominatifs PIE en *(i)yos,, *(i)kos, *(i)d, *-nkw
- J'établis le rang des préverbes (dont beaucoup sont devenus par la suite des prépositions/pospositions) et donne à cette occasion la vraie valeur (en tant que préverbe) de l'ancêtre du vieil-irlandais to-
Suit une notule sur le nom de la "chèvre".

Frequent economical, political and cultural exchanges between German and Scandinavian people during the Middle Ages led to the large scale changes that affected many parts of people’s lives and resulted in the appearance of German-Scandinavian frontier culture with its specific features.
This article, using the example of Middle German heroic epic “Das Nibelungenlied” (“The Lay of the Nibelungs”) and the corpus of adjoining texts that comprise “the legend of Nibelungs / Nibelungenlegend” aims at describing how literature transgresses boundaries, how frontier literature and folklore function in their new space, how canon texts are restructured following the effects of migration and how the ancient and the new plots can be blended in new works of art.
The article begins with a short review of the existing manuscripts of the medieval German heroic epos ""Das Nibelungenlied”. The most characteristic features of the manuscripts are briefly described. Special attention is paid to the so called m and n-versions dating back to the XIV-XV centuries (Darmstadt manuscripts) of the poem, as they can be regarded the marginal versions, containing a specific mixture of oral and written traditions of the Nibelungen legend.
The article proceeds with description of how Nibelungen legend is reflected and transformed in the folklore of Faeroe Islands. Further the article discusses the contents of medieval Danish ballads of the Hven island "Grimhild’s Vengeance” (“Grimhildis Hæven”), the history of creation and the publication of these ballads is briefly described. The content-analysis of texts allows the author to draw a number of conclusions on the sources which formed the basis of these works of folklore, and more widely – about the ways of evolution of Nibelungen legend within the space of medieval German-Scandinavian frontier.

Key words: heroic epic “The Nibelungenlied” (“The Lay of The Nibelungs”), Faroe islands, Nibelungen legend, Darmstadt manuscripts, ballads of the Hven island, "Grimhild’s Vengeance” (“Grimhildis Hæven”), “Thidreks saga”, “Edda”, German-Scandinavian frontier.

The article contains a short review of the existing manuscripts of the medieval German heroic epos ""The Nibelungenlied” (“The Lay of Nibelungs”). The most characteristic features of the manuscripts are briefly described. Special attention is payed to the so called m and n-versions dating back to the XIV-XV centuries (Darmstadt manuscripts) of the poem, as they contain a specific mixture of the oral and written tradition of the nibelungen legend.
Keywords: heroic epic “The Nibelungenlied” (the Lay of The Nibelungs), Nôt-version MS (“downfall of the nibelungs”), Liet-version MS (the lay of the nibelungs), Darmstadt manuscripts, m-version, n-version, “Thidreks saga”, “The Lay of the Hürnen Siegfried”.

Abstract: Alloy thin films of NiB were prepared using electroplating at room temperature. Then electroplated NiB thin films was annealed at 200 o C . NiB deposited films are textured with FCC phase preferred orientation. They were subjected to morphological, structural, and mechanical characterization analysis. NiB films were bright and uniformly coated on the surface. Also, the deposits of NiB films were in nano scale and the average crystalline size was around 61 nm. The micro hardness of NiB was 112 VHN after annealing . Keywords: Electroplating, electrolytic bath, crystalline size, VSM, Ni-B, X-ray diffraction, VHN, SEM.

In dieser Abschlussarbeit wird eine Untersuchung des Wortes „Geschlecht“ vorgeschlagen.
Zunächst soll die Etymologie geklärt werden, dann folgt eine kurze Vorstellung eines der berühmtesten Werke der mittelalterlichen deutschen Literatur Das Nibelungenlied.
„Geschlecht“ wird dann innerhalb einiger Strophen des Werkes kontextualisiert, in denen das Thema der Geschlechterdiskriminierung deutlich wird.
Es soll auch gezeigt werden, dass es schon innerhalb des Nibelungenliedes frühe Versuche von Frauen gab, die Geschlechterdiskriminierung zu überwinden, und dass es auch Frauen gab, die sich auf literarischem Gebiet hervortaten, wie z.B. Sophie von La Roche.
Die Analyse wird sich dann auf die Sprache konzentrieren, indem sie auf Die neue Frauenbewegung eingeht, die politische Bewegung, die von Frauen gegründet wurde, um die Geschlechterdiskriminierung auf sprachlicher Ebene zu bekämpfen, und schließlich wird versucht zu verstehen, wie die deutsche Sprache versucht, inklusiver zu werden und die sprachlichen Unterschiede zwischen Männern und Frauen ein für alle Mal abzubauen.