By Scott E. Pincikowski
First released in 2002. Routledge is an imprint of Taylor & Francis, an informa corporation.
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Extra info for Bodies of Pain: Suffering in the Works of Hartmann von Aue
Friedhelm Debus and Ernst Dittmer (Neumunster: Karl Wachholtz Verlag, 1986), 87-111; Barbara Haupt, "Heilung von Wunden," in An den Grenzen hofischer Kultur: Anfechtungen der Lebensordnung in der deutschen Erzahldichtung des hohen Mittelalters, ed. Gert Kaiser (Munchen: Wilhelm Fink Verlag, 1991), 77-113; Will Hasty, "Daz prfset in, und sleht er mich: Knighthood und 'Gewalt' in the Arthurian Works of Hartmann von Aue and Wolfram von Eschenbach," Monatshefte 85, no. 1 (spring 1994): 7-21; Martin H.
As Ivan Polunin observes, each member of the social body learns to decode signs of pain to the best of their expertise and ability, whereas members of "medical subcultures" receive the most training in reading signs of pain. 9 Beyond the role of verbalization, the body and bodily movements are essential to observing and decoding pain. Polunin posits that in the process of interpreting the body in pain the face plays the most central role, followed by movement of the hands, legs, and torso (Polunin, 92).
Besides being immune to pain by the grace of God, Georg is also granted the ability to evade death. Even though he is stabbed with a sword, bound to the wheel, hacked into ten pieces, whipped, burned, drowned, and stoned, he rises from the dead three times. And like any good Saint's legend, Georg performs miracles of healing upon fellow prisoners and even preaches the merits of Christianity to his heathen executioners. The importance of this and other Saints' legends is the martyr's absence of pain, which was vehemently maintained by medieval theologians and hagiographers.
Bodies of Pain: Suffering in the Works of Hartmann von Aue by Scott E. Pincikowski