Abbildungen: Schirok 1985 189 [384,15-385,30]
Adaptation: Mergell 1943 261 [384,15-385,30], Pastré 1979 370 [383,23-384,28], 371 [383,23-384,28], Pérennec 1984f 214 [384,15-384,23]
Artusepik: Pérennec 1984f 214 [384,15-384,23]
Buch VII: Zimmermann, Gisela 1974 290 [384,15-385,30], 292 [384,16-384,20]
Entstehungsgeschichte des Parzival: Karg-Gasterstädt 1925 45 [384,15-384,28], 53 [384,15-384,28]
Erzähltechnik: Mergell 1943 261 [384,15-385,30]
Fiktionalität: Huth 1972 404 [185,21-815,26]
Frauenfiguren: Schmid, E. 1991 50 [384,15-384,20]
Fuetrer, Ulrich: Nyholm 1964 168 [384,15-384,27]
höfisches Leben: Huth 1972 404 [185,21-815,26]
Interpretation: Huth 1972 404 [185,21-815,26], Pérennec 1984f 214 [384,15-384,23]
Kommentar: Zimmermann, Gisela 1974 290 [384,15-385,30], 292 [384,16-384,20]
Minne u. Ehe: Huth 1972 404 [185,21-815,26]
Obilot: Schmid, E. 1991 50 [384,15-384,20]
Raum u. Bewegung: Beck, Hartmut 1994 34
Realismus: Huth 1972 404 [185,21-815,26]
Rezeption (sekundär - Mittelalter): Nyholm 1964 168 [384,15-384,27]
Rhetorik: Pastré 1979 370 [383,23-384,28], 371 [383,23-384,28]
Richtungskonstruktionen: Beck, Hartmut 1994 34
Sprache: Karg-Gasterstädt 1925 45 [384,15-384,28], 53 [384,15-384,28], Beck, Hartmut 1994 34
Stil: Karg-Gasterstädt 1925 45 [384,15-384,28], 53 [384,15-384,28], Mergell 1943 261 [384,15-385,30]
Überlieferung: Schirok 1985 189 [384,15-385,30], Bonath und Lomnitzer 1989 129 [384,18-385,16]
Verskunst: Karg-Gasterstädt 1925 45 [384,15-384,28], 53 [384,15-384,28]
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