볼프람 폰 에센바흐의 『파르치팔 Parzival』에 나타난 색채연구 = The colour symbolism in Wolfram von Eschenbach's Parzival

다국어 초록 (Multilingual Abstract)

This study showed the colour symbolism in Wolfram von Eschenbach's Parzival. For this purpose, particularly striking scenes or characters are picked out and examined for their colour-specific pictoriality and their function.
The important role of the characters in literature goes back to the time of the mid-German Artusromane. Linguistic signs can be found in almost any text, they are able to convey correlations of literature textes on a deeper level. Especially colour can be important signs. The Parzival by Wolfram von Eschenbach is one of the most important epic texts of the High middle in the German-speaking world. The symbolism of his text was much discussed. The text of Wolfram von Eschenbach is riddled with linguistic images, signs and metaphors to be interpreted.
The prologue already introduces an important colour theme in Wolfram's work. The contrasting colour combination of black and white, which he constructs as a harmonious unit. While the use of black and white as a colour scheme often represents opposition, Wolfram allows both colour to coexist. Instead of the usual binary of good and evil, Wolfram shows a variation of the characteristics associated with the two individual colours. Feirefiz as representative of the Magpie parable is largely described positively. In this way, Wolfram creates a new human image that no longer corresponds to the binary good-evil or black-white, but breaks it down.

국문 초록 (Abstract)

본 논문에서는 에센바흐의 『 파르치팔』에 등장하는 색채의 상징성을 다루었다. 특별히 ‘흰색’과 ‘검정색’의 대비를 통하여 작가의 세계관을 분석하는데 연구의 주안점을 두었다. 작가는 색채의 대비를 통하여 ‘동질성’과 ‘이질성’의 모습을 보여주고 있다. 서양문화를 상징하는 ‘흰색’은 서구인의 동질성을 보여주고 오리엔트를 표현하는 검정색은 서구인에게 있어서 하나의 이질적인 세계의 상징으로 다가오고 있다. 이러한 요소는 본래 크레티엥의 작품에 없던 요소이다. 에센바흐는 새로운 인물을 도입함으로서 독특한 창조적인 세계관을 제시하고 있다. 파이레피츠는 작품의 처음에 등장하였다가 작품에 다시 나타남으로 전체적인 줄거리를 유기적으로 연결시키는데 상징적인 역할을 한다.

참고문헌 (Reference)

1 Andrea Schindler, "ein Ritter allenthaben rot. Die Bedeutung von Farben im Parzival Wolframs von Eschenbach-In"

2 Peter Wapnewski, "Wolframs Parzival" Studien zur Religiosität und Form 1955

3 Joachim Bumke, "Wolfram von Eschenbach" Weimar 1997

4 Michael Dallapiazza, "Wolfram von Eschenbach" Parzival 2009

5 Haiko Wandhoff, "Schwarz auf Weiß-rot auf Weiß" Die Farben imaginierter Welten 2012

6 Wolfram von Eschenbach, "Parzival" Frankfurt a.M 2006

7 Walter Haug, "Literaturtheorien im deutschen Mittelalter" Darmstadt 1992

8 Kurt Ruh, "Höfische Epik des deutschen Mittelalters II" 1980

9 Beatrice Michaelis, "Farbspiel in "Kundrun" und "Parzival". In:Ingrid Bennewitz und Andrea Schindler" Farbe im Mittelalter 2011

10 Thomas Rausch, "Die Destruktion der Fiktion" Zeitschrift für deutsche Philologie 2000

11 Deutsche Bibelgesellschaft, "Die Bibel nach Martin Luthers Übersetzung"