.... Subsequent references in the text, identified by LI. 375 James A. Schultz This is because the mark inevitably carries with it traces of its previous iterations... ... assumed by the subject of Minnesang: that of the lover and that of the singer. Harald Haferland and Jan-Dirk Müller are 377 James A. Schultz troubled by... ... Theorie, Stuttgart 1969, pp. 182–190, here: p. 185. 379 James A. Schultz you are singing and you are unhappy, you must be a lover. The lover’s unhappiness... ... describing constraints on 16 On the exogenesis of love see James A. Schultz: Courtly Love, the Love of Courtliness, and the History of Sexuality, Chicago 2006... ... 16], pp. 105–107. 381 James A. Schultz mits himself to it. Embracing his subjection, he chooses that to which he is condemned: his love. Hausen’s song... ... und Quellen 154 , pp. 57–84. 385 James A. Schultz wol werde schîn. The suffering that was internal in strophe two is now about to become visible to the... .... by Christoph Cormeau, Stuttgart 1979, pp. 120–159, here: p. 122. 387 James A. Schultz say ‘performance’ in writing about Minnesang, the word inevitably... ...: Minnesang als Posenrhetorik, in: Hausmann [note 3], pp. 65–105, here: 79; 101. 389 James A. Schultz is not alone in wanting to equate the lyric subject of the... ... ich, iemen groezer ungelücke hât, / und man mich doch sô vrô dar under siht MF 179,38–39 . 393 James A. Schultz Some of these constraints are gender... ... James A. Schultz The singer’s performance not only provides a way of articulating things that would ordinarily have to remain hidden; it also promises a...