minnesinger

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min·ne·sing·er

 (mĭn′ĭ-sĭng′ər, -zĭng′-)
n.
One of the German lyric poets and singers in the troubadour tradition who flourished from the 1100s to the 1300s.

[German, from Middle High German : minne, love (from Old High German minna; see men- in Indo-European roots) + singer, singer; see Meistersinger.]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

minnesinger

(ˈmɪnɪˌsɪŋə)
n
(Poetry) one of the German lyric poets and musicians of the 12th to 14th centuries
[C19: from German: love-singer]
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

min•ne•sing•er

(ˈmɪn əˌsɪŋ ər)

n.
one of a class of German lyric poets and singers of the 12th, 13th, and 14th centuries.
[1815–25; < German, =Minne love + Singer singer]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
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References in periodicals archive
It would seem that Charles did not feel the necessity to employ lyrical love poetry performers at his own court in Prague, as the one and only representative of the German Minnesang there, Heinrich von Mugeln, left for Vienna in 1360 and none of the few Czech secular songs dating from the pre-Hussite era deal with courtly love.
Specifically, this confusion resulted in two central motifs for the Grail legend: The image of the Waste Land and the struggle between divine and earthly love in German minnesang. Indeed, the works of authors of the period such as Gottfried von Strassburg and Wolfram von Eschenbach present a direct challenge to the Church, secularizing the divine and finding it outside of the official doctrine.
Le culte de la Dame en Occitanie et le minnesang germain.
That might not be so surprising in light of Celan's own early absorption in the rhythms and motifs of medieval German Minnesang and the ways some of his early poetry seems to give a surreal twist to popular verse forms.
For instance, Herder's essay "On the Origin of Language" (1770) examines the origin of the faculty of speech as well as the thematic return to the medieval culture of Minnesang. Conversely, scholarship has demonstrated that the romantic age is historically marked as the advent of the culture of writing.
Onder jou venster waar nag jou toespin speel ek my vedel, sing my minnesang, 'n lied van begeerte en bedwelming, my sterwende eggo van verlang.
There are four genre-based chapters, covering didactic poetry, 'Minnesang', heroic narratives (including the Nibelungenlied) and mysticism (including Mechthild von Magdeburg).
Daar is byvoorbeeld die drietal Boesmanverse wat begin met "!numani se minnesang" (een van die mooiste gedigte in die bundel--'n liefdesgedig om te onthou), en eindig met "sangrotskilder".
It is behind Dante and Petrarch, Boccaccio and Machaut, the dolce stil Nuovo, Minnesang, and English and German romance.
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