503,23 (zu den werkspezifischen Angaben)	[Zu 503,22]
Adaptation: Hilka 1932 732 [503,21-503,29], Mergell 1943 274 [503,21-503,30], Mergell 1953a 451 Anm. 34 [503,21-503,30] Ausgabenmethodik: Neumann, F. 1966b 36 [503,1-503,30] Charakterisierung: Blamires 1966 426-27 [503,21-503,30] Entstehungsgeschichte des Parzival: Grimm, Walther Ludwig 1897 17 Anm. 42 [503,1-503,30], Schreiber, A. 1922 148-49 [503,1-503,30], 151 [503,1-503,30], 195 [503,1-503,30], Karg-Gasterstädt 1925 3 [503,1-503,30], 144 [503,1-503,30], Boigs 1984 16 [503,21-503,30], Boigs 1987 372 [503,5-503,30], Nellmann 1994c 704 [503,1-503,30] Erzähltechnik: Nellmann 1973a 96 Anm. 85 [503,5-503,30], Hirschberg 1976 199 [503,1-504,6], 242 [503,1-504,6], 243 [503,1-504,6], 357 [503,1-504,6], Green 1982b 176 [503,21-503,26], Eikelmann 1996 246 [503,1-504,6] Gawan: Dimpel 2001 42 Anm. 12 [503,21-504,6] Gawan-Handlung: Sacker 1963 128 [503,21-503,30], Zimmermann, Gisela 1974 1 [503,5-503,26] Gral: Burdach 1938 522 [503,21-503,30], Burdach 1974 522 [503,21-503,30], Barber, R. 2004 417 Anm. 18 [503,21-503,26] Heinrich von Veldeke: Kern, Manfred 1998 274 [503,1-504,6] heterodoxe Einflüsse: Kahane, H. und Kahane, R. 1965 67-68 [503,21-503,30] Interpretation: Bertau 1972/73 997 [503,21-503,24], Mohr 1958b 5 [503,5-503,30], Springer 1959 238 [503,21-503,24], Mohr 1966a 293 [503,5-503,30], Huth 1972 404 [185,21-815,26], Kratz, H. 1973a 313 [503,5-503,30], 335 [503,5-504,30], Springer 1975b 201 [503,21-503,24], Mohr 1979e 68 [503,5-503,30], Ruh 1980 109 [503,21-503,30], 117 [503,21-503,30], Gottzmann 1986 257 [503,5-503,26], 258 [503,5-503,26], Gottzmann 1988a 257 [503,5-503,26], 258 [503,5-503,26], Schirok 1988a 136 [503,5-503,30], Gilmour 2000 309 [503,1-503,30], 324 [503,5-504,6], Reichert, H. 2002 130 [503,22-503,26] Ironie: Green 1979a 137 [503,21-503,30] Jenseitsmotive: Braches 1961 205 Anm. 824 [503,5-503,26] Minne u. Ehe: Kleber, J. 1992b 334 [503,1-503,30], 338 [503,1-503,30] Pferde u. Pferdeschmuck: Ohly 1985b 868 Anm. 25 [503,21-503,26], Ohly 1989a 78 Anm. 25 [503,21-503,26], Ohly 1995b 333 Anm. 27 [503,21-503,26] Quellen - allgemein: Heinzel 1893 9 [503,1-503,30], 36 [503,22-503,26], 66 [503,5-504,6], 97 [503,21-504,6], 103 [503,1-504,30], Golther 1925a 183 [503,5-503,30], Weber, G. 1928 29 [503,5-503,30] Raum u. Bewegung: Wynn 1961b 404 [503,21-503,30], 408 [503,21-503,30], Wynn 1984 103 [503,21-503,30], 109 [503,21-503,30] Rezeption (sekundär - Mittelalter): Nyholm 1964 196 [503,1-503,30], Jillings 1980 130 [503,21-503,30], Kern, Peter 1981 187 Anm. 97 [503,7-507,24], Mentzel-Reuters 1989 189 [503,5-503,30], Daiber 1999 180 Anm. 197 [503,21-503,26], 201 Anm. 274 [503,22-503,26], Stein, Peter 2000 211 [503,21-503,24] Rezeption (sekundär - Neuzeit): Winkler 1988 567 [503,21-503,30] Stil: Kolb 1975a 213 Anm. 52 [503,21-503,24] Werkstruktur: Hirschberg 1976 198 [503,1-504,6], Sauer, M. 1981 260 Anm. 6 [503,5-504,5] Zeitverhältnisse: Rührmund 1848 468 [503,5-503,24], Weigand, H. 1938 946 [503,1-503,30], Weigand, H. 1967b 34 [503,1-503,30], Weigand, H. 1969b 66 [503,1-503,30], Nellmann 1994c 703 [503,5-504,6], 740 [503,5-504,8]
	[Zu 503,24]