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The article discusses about the song "Minneleich" by Meister Alexander’s. It states that it is a long and complex Middle High German song. There are interdisciplinary studies in the fields of medieval music and poetry, that remain indebted to one discipline or another as in case of songs contained in the Jenaer Liederhandschrift (Jena Songbook).

The Carmina Burana have too easily fallen into stifling categories of interpretation, treating them as exclusively poems by students, by learned scholars, or by minstrels who demand our respect. In reality, as this paper illustrates, they represent a very dense corpus of songs in Latin and in a mixtures of Latin and Middle High German in which highly educated intellects reflect upon the wide range of everyday themes, interests, concerns, and desires common at that time, including sexuality, drinking, entertainment, and music. But at closer analysis we also discover a plethora of critical songs in which the loss of ethics, morality, and social norms both at court and in the church are sardonically attacked and ridiculed. Although the poets usually resort to the norms and models of ancient-classical and medieval courtly poetry, they regularly transgress those and present drastically opposite perspectives. In this process they also reveal the extent to which they actually closely interacted with vernacular literature. Laughter is often the name of the game, but it is not simply light and untroubled comic that finds expression here. This article demonstrates the extent to which the poets of the Carmina Burana actually interacted in a very intensive fashion with the learned literary traditions and the standard ideals of courtly love, undermining the common pretenses of a peaceful, harmonious, and honorable courtly society and of a reputable clergy. [ABSTRACT FROM AUTHOR]

It should be taken seriously that Minnesang in its original form was a poetic performance: this »work of art« comprises, besides the lyrics themselves, the musical and visual dimensions; what the historical manuscripts really preserve is the raw material which can be realized in various ways. I derive corresponding potential from two songs of Walther von der Vogelweide, the "Song of the Linden Tree" and the "Palestine Song," as modern popular culture presented and still presents them in (stage) performances as well as recordings. [ABSTRACT FROM AUTHOR]

The article takes issue with tendencies of recent criticism on Minnesang to offer simplistic ideological or autobiographical interpretations and to present its construction of the feminine as inevitable and positive. By re-examining several of Morungen's most famous lyrics, I expose the ambivalence and the internal contradictions that characterise his vrouwe, elements that editors have frequently attempted to cull from the lyrics. My thesis is that the Minne constellation serves as pretext and vehicle for the poet's self-celebratory artisanship. [ABSTRACT FROM PUBLISHER]

The article explores Johannes Brunwart von Auggen's minnesongs in the late 13th century in Germany. It notes that the minnesongs had to be stripped of the idiosyncratic, personal and original to function properly as part of courtly self-celebration. It adds the life and works of Brunwart, who is a minor minnesinger, attested for the years 1272 until 1296 and whose public life in the Markgraflerland southeast Freiburg was marked by his service as mayor of Neuenburg. It also makes reference to the minnesongs of Walther von der Vogelweide and compares it with Brunwart's.

The article examines the relations of textual signification between inscribed poet, inscribed lady, and inscribed audience through the Minnesang of Walther von der Vogelweide and Reinmar der Alte. The author explores the allegorization of the lofty lady as the courtly society and assumes that all courtly poetry is already about men talking to men.