![]() Furthermore, they signify multivalent constructions of gender in the relationships between men and women. ![]() Herzeloyde’s shirt, Condwiramurs’s silk shirt and velvet coat, and Bene’s and Repanse’s erotically charged coats are but a few of the plethora of examples in Parzival in which clothes are used to express contradictory meanings to the beloved and the public. Men on the other hand are in control of women and act upon them, especially when their honor and social distinction increases by being associated with the lady. On a surface level, clothing seems to perpetuate normative gender constructions in which women are locked into the role of an aloof beauty, the desirable waiting to be desired by a knight. Introduction: In Parzival, Wolfram von Eschenbach provides us with several intriguing examples in which clothing-to which I am limiting myself in this article-plays a surprising role in the construction of gender roles that undercut and/or affirm the fabric of courtly love. ![]() ![]() New Research: Yearbook for the Society of Medieval Germanic Studies, Vol.1:1 (2013) 15th century illustration from Parzival – Cod. Undercutting the Fabric of Courtly Love with ‘Tokens of Love’ in Wolfram Von Eschenbach’s Parzival ![]()
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