Abstract
Abstract The poetical theory of Konrad von Würzburg very often is regarded as a medieval anticipation of modern aesthetics. The article, however, tries to describe in an analysis of the ›Goldene Schmiede‹ and the ›Trojanerkrieg‹ how Konrad in fact goes beyond the poetics and rhetorics of his time, but that he still presupposes that aesthetic values are inferior to religious and moral norms.
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