Andreas Kurzmann

Andreas Kurzmann (around 1400) was a Cistercian monk in the Upper Styrian monastery Neuberg an der Mürz, where he worked as a cantor, copyist of Latin works and author of German-language sacred poetry.

Life

Andreas Kurzmann lived and worked in the second half of the 14th and first half of the 15th century and may have been of Styrian or Lower Austrian origin, as studies of the poet's vocabulary have shown. Little is known about Andreas Kurzmann as a person. The little that posterity knows about the Upper Styrian poet monk is based solely on deductions and conclusions from the handwritten notes of Kurzmann's fellow brother Heinrich Schäbel and the scribes of the poet himself.

From the scribe's note in Codex 194 of the Seitenstetten Abbey Library it becomes clear that Kurzmann completed this copy of the New Testament on February 10, 1390 and at that time was already a Neuberg profession , but the exact date of the vow cannot be determined. Furthermore, the note in MS. 1254 of the Graz University Library of March 7, 1396 records Andreas Kurzmann as cantor of the Neuberger Stift - his profession is also mentioned in this context. According to this, Andreas Kurzmann must have entered the Cistercian monastery in Neuberg an der Mürz before 1390, where he made his profession and acted as a (pre-) singer and writer. In the literature, Andreas Kurzmann is sometimes also assigned the office of vicar in Spital am Semmering, which can be deduced from the colophon in ms. 1253 of the Graz University Library. However, this is likely to be a misinterpretation: Brother Andreas does not refer to himself after his name has been mentioned, but to a Mr. Christian who was the rector of the church at the time the codex was completed. The date of the last handwritten colophon by Andreas Kurzmann in MS. 1295 of the Graz University Library is available on September 22nd, 1407. The date of death of the Upper Styrian poet monk is not known; his death is dated between 1428 and 1431. The handwritten note from Kurzmann's brother Heinrich Schäbel in MS. 856 of the Graz University Library is informative: Schäbel provided the codex with 4 dates: While the first two notes were dated 1428, the third was 1431 and the fourth 1462 as the year of completion of the respective copy. However, Andreas Kurzmann is only mentioned between the second and third notes, which results in the year 1431 as the terminus ante quem .

Works

Graz University Library, Ms. 1258, fol. 51r: The handwriting of Andreas Kurzmann, identifiable by the sweeping g-loops

In addition to fixed times of prayer, administrative work and the management (of land and water), writing was an inherent part of the daily routine of a Cistercian monk. Cistercian orders are considered to be "pioneers of writing in general as well as of the document system in particular". The monasteries thus had elaborate scriptoria in which texts were copied and rewritten. Andreas Kurzmann was also a so-called “scribe-monk” who not only copied existing Latin works in the course of his work in the office, but also wrote sacred poems himself.

Copies of Latin works

Brother Andreas made numerous copies of Latin works as part of his writing activity, ranging from copies of the New Testament and sermons to texts that were used in monastic school lessons. A total of 11 Latin manuscripts from Andreas Kurzmann's writing activity are still preserved today. While one of the manuscripts is kept in the Seitenstetten Benedictine Abbey and one in the Austrian National Library (ÖNB), the remaining nine are in the manuscript collection of the Graz University Library, where a large part of the manuscript holdings were relocated after the abbey was dissolved in 1786. Seven of these eleven manuscripts [including: Codex 3508 (ÖNB Vienna), Hs. 589 (Graz University Library), Hs. 595 (Graz University Library), Hs. 672 (Graz University Library), Hs. 677 (Graz University Library), Hs. 911 (Graz University Library), HS. 1258 (Graz University Library)] have no scribe note from Kurzmann. Due to the characteristic typographical typeface, these manuscripts can still be clearly assigned to his hand - even without an explicit reference to the Cistercian monk: It is above all the sweeping g-loops in the bottom line of the text area that contribute to the striking typeface characteristics of Kurzmann. In addition, the steep writing with a relatively high attachment of graphs 1 and a helps identify his hand.

Lore

University Library Graz, Ms. 1253, back cover sheet: redrawing of the Neuberg Madonna (?)

• Seitenstetten Abbey Library, Codex 194 (1390, scribe's note on fol. 135rb): This is a collective manuscript; the first part of the Codex - a complete record of the New Testament - comes from Kurzmann's pen. The manuscript does not belong to the Seitenstetter old stock. The year in which the codex came into the care of the monastery library cannot be reconstructed.
• Austrian National Library, Vienna, Codex 3508: Contents: Libellus definitionum ordinis Cisterciensis ab initio mutilus , Novellae definitiones factae 1316 and Statuta temporalia . Although the g-loops characteristic of Kurzmann are missing at the end of the page, the codex is assigned to Kurzmann's scribal hand in research - not without dissenting voices.
• Universitätsbibliothek Graz, Hs. 1254 (1396, scribe's note on fol.180v): Contents: Theological and hagiographical texts, e.g. by Johannes Guallensis and Thomas de Hibernia, Pseudo-Johannes Crysostomus or Pseudo-Augustine.
• Graz University Library, Hs. 1253 (1403, scribe note on fol. 88v): Content: Regulae pastoralis liber by Gregory the Great. The manuscript also contains a drawing on the back cover sheet. Although this could only be a 'feather test', the assumption is that Andreas Kurzmann, whose hand is responsible for the entire codex, wanted to prove his skills as an illustrator here. It is possible that Brother Andreas tried to draw the Neuberg Madonna with this sketch in accordance with the Cistercian tradition of devotion to Mary.
• University Library Graz, Hs. 1295 (1407, scribe note on fol. 185r): Content: various theological texts, for example Super hymnos cisterciensis ordinis .
• University Library Graz, Hs. 589: Contents: Tabula on Summa poenitentialis by Thomas de Chabham as well as a Latin circular to pastors and pastors regarding Easter Tuesday in Spital am Semmering in the 15th century.
• University Library Graz, Hs. 595: Contents: Sermones de sanctis per totum annum by Johannes Militius.
• University Library Graz, Hs. 672: Contents: Texts by Beda Venerabilis, Maximilian Taurinensis, Fulgentius, Pseudo-Augustine and Leo the Great.
• University Library Graz, Hs. 677: Content: Texts by Humbertus de Romanis (* around 1200; † 14 July 1277) and Pseudo-Johannes Chrysostomus.
• University Library Graz, Hs. 911: Contents: Liber pastoralis Cura by Gregory the Great.
• University Library Graz, Hs. 1258: Contents: In addition to three anonymous sermons, this manuscript contains a. a. Texts by Pseudo-Augustine, Gregory the Great and Bernhard von Clairvaux. Three of these sermons contain inserted German words (glosses) - whether these come from the hand of the Cistercian monk or were faithfully taken from the templates cannot be determined. Anton Kern believes that the anonymously transmitted texts can be attributed to Kurzmann's authorship.

German-language sacred poems

Andreas Kurzmann not only copied Latin works, but also worked as the author of five German-language sacred texts. These are German couplet poems, which Kurzmann designed rather freely from Latin models. The texts in the vernacular German served the catechetical instruction of lay brothers as well as simple believers, and so Brother Andreas tried to write down the spiritual poems in plain and popular language. The central message in and behind Brother Andreas' texts is the trust in the goodness and grace of God and on the fact that all believers who lead a Christian way of life under God's commandments can be sure of his mercy. If the devotion to Mary has a special place in the life of a Cistercian monk, then, according to this tradition, the Blessed Mother is also given her special role in Kurzmann's works as the advocate of the faithful. Although Brother Andreas has no direct contact with the pre-Reformation current of pastoral theology , the intentions behind Kurzmann's poems still show contemporary parallels. The aim of this pastoral care was to give the believers hope in the salvation of their souls and thus to be support and help in real coping with life.

In all of his poems the Cistercian monk mentions himself ( e.g. in the ' Death Book ' De quodam moriente - Von ainem mann der do die woldt V. 91: Thus spoke Andre chuerczman. ), Brother Andreas also gives his speculum humanae salvationis in the prologue Names. None of the works has survived in the original, the texts are only available in copies from the 15th century.

Andreas Kurzmann's poetry includes the Speculum humanae salvationis , which is an edited translation of a typological mirror of salvation , two legends ( Amicus and Amelius , St. Alban ), a debate about the salvation of the soul of a repentant sinner ( De quodam moriente - Von ainem mann der do die woldt ) as well as the Soliloquium Mariae cum Jhesu , which negotiates the most important questions of faith in Christianity in a dialogue between the Mother of God Mary and Jesus.

Speculum humanae salvationis

Tradition: Vorau Abbey Library , Codex 178, fol. 194r-247v

The Speculum humanae salvationis comprises 8942 verses and is referred to by Andreas Kurzmann himself as " Dec people haylsam mirror ". The manuscript of the Augustinian canons of Vorau was probably created in the second half of the 15th century and represents a free transfer by Kurzmann of a book of edification in Latin rhyming prose that was handed down around 1320 and was a popular form of typological poetry in the late Middle Ages . The Latin text is - similar to a poor Bible - an illustrated Bible poem, the illustrations of which are assigned to layman reading in the prologue. The main part comprises 42 chapters, each consisting of four pictures and 100 lines of rhyme. While the pictures in the first two chapters illustrate scenes from the Old Testament up to Noah's Ark, these are only hinted at in favor of general statements in the text. All other chapters are designed as typological comparisons: a scene from the New Testament is juxtaposed with three images from the Old Testament and, in some cases, depictions of non-biblical origin. The texts take up the content of the pictures, but are supplemented by catechetical instructions and notes.

The Speculum humanae salvationis Kurzmanns has only been handed down with Codex 178 in a single manuscript from Styria without pictures and therefore only as text. From today's point of view, it cannot be determined with certainty whether the original was equipped with illustrations or whether brother Andreas sought a combination of image and text. Other translations of the speculum, such as by Konrad von Helmsdorf or Heinrich Laufenberg, as well as various references to visual perception in the text speak in favor of this assumption.

De quodam moriente - From a man who woldt do

Tradition: Salzburg University Library , Codex MI 138, fol. 249r-251r

The text can be assigned to the ars moriendi poems and handed down together with two other rhyming legends ( Amicus and Amelius , St. Alban ) of the poet in a Salzburg codex (= UB, MI 139). The German text is permeated by Latin inserts, which together represent a series of dialogues between the speaking actors in Kurzmann's poetry. However, this does not achieve a narrative of the text - the German lines refer back to the Latin verses and in this way function as 'narratological bridges'.

De quodam moriente tells of the salvation of the soul of a repentant sinner in a 91-verse argument. A dying person is haunted by the devil at the moment of death, who wants to take possession of his soul because the person has sinned. However, the devil is contradicted by an angel sitting at the head of the death bed, arguing that the dying person feels sincere repentance. The sinner is frightened at the wrongdoings he has committed, but in dire straits he utters an imploring prayer to the Blessed Mother in heaven:

The sunder gar vil hard felt, do he des veints red vernam. He does not deny the sundn and there was wenkchn pede eyes to the mueter ihesu christ and spoke cto ir, as one do list: O spes in morte, me salua, Mariam precor te! Mary, hope in the tad, nu sick today my grasse nat And help me get hailed and with the vein not be vertailed, who laider me often petrogen and withdrew to the sundn. That's laid me from ganczm herczn. Now help me out of my smerczn today, if you pist the genadn vol, as yeder one solves

The sinner was terrified when he heard the words of the evil enemy. He couldn't deny his sins however, adjusted his eyes towards the mother of Jesus Christ and said to her how to read: O hope in death, save me, Maria, I beg you! "Maria, hope in the hour of death, look down on my great misery I am in today and help me get saved and not be condemned together with the enemy, which unfortunately often deceived me and has led to sin: I am so sorry for that! Now help me out of my misery today because you are full of grace as everyone should know "

Text print based on the manuscript Salzburg, UB, Cod. MI 138, fol. 249r – 251r, and translation by Andrea Hofmeister-Winter, V. 15-30.

The dying man's cry for help triggers a true heavenly “chain of rescue”: Mother Mary asks her son, Jesus Christ, for the redemption of the sinner and demonstratively points to her breasts, with which she nourished Jesus. He turns to God in heaven with reference to his wounds that he suffered on the cross. God is instantly convinced and sends an angel to convey the good news to the anxious soul of the deceased. Towards the end of the story, St. Bernard recapitulates the central message of the text:

Sand Pernhart speaks ain sweet waiting, that’s just like this: Aspice, peccator, vbi filius est mediator pro precibus matris, que sit responsio patris! O sunder, you should credit that what god the father countered between his sun, the ihesu christ, who is a sinner to you! And cham that from the pet, the christi mueter czu in the tett. Really, vmb das nyemant sol verczagen. His great nat should beat him the mueter of all saligchait, dew yedem man is perait. Also nyemt chan, the sy with prayer calls

A consoling word comes from St. Bernard, that is immeasurably beneficial: Notice, sinner, what the Father's answer is when the son acts as a mediator at the request of his mother! "O sinner, turn your attention to what God the Father said to his son Jesus Christ, who is truly your reconciler! This in turn came from that prayer that Christ's mother had addressed to this. " See, no one should despair but his great need to complain to the mother of all bliss, which is there for everyone. So no one will be lost who turns to her reverently.

Text print based on the manuscript Salzburg, UB, Cod. MI 138, fol. 249r – 251r, and translation by Andrea Hofmeister-Winter, V. 77-90.

Amicus and Amelius

Tradition: Salzburg University Library, Codex MI 138, fol. 225r-248v

1165 verses in Andreas Kurzmann's poem Amicus and Amelius report on the loyalty and profound friendship between Count Amelius and Knight Amicus. The story of the two friends looks back on a long tradition of fabric, and countless adaptations since the Middle Ages testify to the popularity of the story. There is also an adaptation of the friendship saga with Engelhard Konrads von Würzburg , even if Konrad made small changes to the content and added a few motifs to the story. Loyalty can also be found as a leitmotif in “Engelhard”; Konrad describes this as a valuable virtue in the prologue of the story.

The two protagonists are so similar that you can't tell them apart. They get to know each other on the way to their baptism and form a friendship that will bind them for the rest of their lives. After the death of his father, amicus is driven from his property by envy and hatred. He makes his way to Amelius, who in turn has already started the journey to Amicus. After a long odyssey, the friends meet in front of Paris and ride together to the court of the Frankish King Karl. Amicus becomes the king's chamberlain, Amelius his cupbearer. When Amelius leaves the court of Charles for a while and rides to his wife, he advises Amicus to stay away from the hostile Count Ardecius and the beautiful king's daughter during his absence. To his chagrin, however, Amelius ignores the wise advice of his friend and sleeps with the virgin king's daughter. The offense becomes public at the royal court and Amelius has to prove his innocence in battle. Due to Amicus 'timely return, Amicus fights God for his friend, while Amelius travels to Amicus' wife. Amicus wins the fight, rides home and swaps positions with his friend Amelius, who then marries the king's daughter at Karl's court. By God's punishment, amicus becomes ill with leprosy. His wife begins to hate him for this and wants to poison him, but he escapes in time and after two years comes to Amelius, from whom he is graciously welcomed and cared for. From an angel apparition in a dream, Amicus learns that Amelius has to kill his children, because only their blood can heal Amicus. Amelius, with great sadness, sacrifices his children to heal his friend. This loyalty is rewarded by God through the resuscitation of children. The legend ends with the Pope's fight against the Lombards. Amicus and Amelius both fight on the Pope's side but die in battle. God honors the two friends who died in the crusade as saints by uniting their corpses side by side in the same church.

St. Alban

Tradition: Salzburg University Library, Codex MI 138, fol. 206r-224v

The incest saga of St. Alban has a total of 923 verses, and an abbreviated version of the Latin incest legend can probably be assumed as the model. After the death of his wife, an otherwise noble emperor fathered a son with his daughter who was abandoned in Hungary after his birth. The child, Albanus, is found in his misery and raised by the childless king. The adopted Albanus will be crowned while the king is still alive. Meanwhile, the ignorant emperor, who is informed of Albanus' noble nature, believes that he has found a suitable husband for his daughter. In the ignorance of all, marriage is concluded and the son is married to his mother in this way. After the king's death, Albanus receives the items on loan from him and in this way must painfully recognize the incest with his own mother. A hermit imposes a seven-year penance on Albanus and his parents. However, the emperor and his daughter commit sin again, and the incest repeats itself. Albanus witnesses this passion and then kills his parents. After a seven-year period of repentance, Albanus decides to live as a hermit and renounces the rule of his kingdom. In the solitude of the hermit, Albanus is robbed and killed, and his body is thrown into a river. The corpse drifts to a mill where a knight lives with his daughter who has leprosy. The contact with the water heals the sick girl and subsequently other lepers from their suffering.

Soliloquium Mariae cum Jhesu

Tradition: Graz University Library, Ms. 856 , fol. 197r-203v

The Soliloquium of Andreas Kurz man is a theological dialogue on the Passion and the redemptive work of Jesus between the Virgin Mary and her son Jesus Christ. The text, conceived as a teaching dialogue, provides information in the course of a familiar mother-son conversation about the central questions of faith in Christianity, whereby Jesus, as the omniscient child of God, informs Mother Mary about his mission on earth, his story of suffering and his return and patiently answers all her questions. This fabric motif was widespread throughout the Middle Ages.

Andreas Kurzmann's text with the Latin title Soliloquium Marie cum Jhesu secundum Gregorium papam et doctorem sanctissimum is the second shortest of the poems of the Cistercian friar with 427 verses. Brother Andreas' Soliloquium can be traced back to the Vita beatae virginis Mariae et salvatoris rhythmica , which was written in the first half of the 13th century . Kurzmann's dialogue is at the end of the second book in this Latin life of the Virgin Mary. While the Latin model discusses 27 questions of faith in dialogue form, Brother Andreas chose only 12 from this catalog and expanded his poetry to include narrative inserts on the Apostles' Creed and a lay catechism. Many passages in the Neuberg “Soliloquium” are based on statements by Gregory the Great.

Graz University Library, Ms. 856, fol. 197r: Beginning of Andreas Kurzmann's soliloquium

Jncipit Soliloquium Marie cum Jhesu secundum Gregorium papam et doctorem sanctissimum Eyn dinck wil i say nvn hye Daz vergye long ago Do gotes svn her ihesus christ Eynger has been chnab Be often pey ym do saz Jn more dear than pylleich waz Also in questions was vil vnd vil When I wil to say after nvn Si spoke to ym on aynem day Tell my child when I ask you If all weysait pist you vol When I glawb vnd waiz ez wol Also gotes svn du ymmer pist the ye do waz vnd is eternal I piss you off as mine from the gent dew gueten pot Dew moyses was called the Jews When I read ez wol wye you except my sun hye seyst I don't want to pin it yet Vnd dar vmb tell me lyebes chind Because I was the warhayt even enphynd Dye nyeman waiz nver du alayn And you got fleysch and payn from me Her ihesus as I shouted after you Zv his lyeben mueter spoke

The dialogue between Mary begins here with Jesus after Pope Gregory, the holy scholar I want to tell you something now that happened a long time ago as God's Son, our Lord Jesus Christ, was a little boy. His mother often sat with him then very lovingly, as it should be, and asked him many things as I will report in the following. One day she said to him: "Tell me, my child, what I ask you, because you are full of the highest wisdom, as I believe or know for sure. You have always been God's son who always was and will be forever. I pray to you as my god from whom the right commandments come, which Moses gave to the Jews here, like I read. But how you became my son I am still too little informed about this and therefore explain it to me, dear child, so that I can fully absorb the truth that nobody knows but you who through me you have flesh and limbs. " As I am about to report said the Lord Jesus to his dear mother:

Andreas Kurzmann: Soliloquium Marie cum Jhesu. Diplomatic impression based on the handwriting Graz, UB, Cod. 856 and trans. To Nhd. v. Andrea Hofmeister. Graz: Styrian University Association. Literature trails d. MA. 2012. (= texts on the Styrian Literature Paths of the Middle Ages. 1.), p. 3. V. 1-26 (+ heading)

The text was copied between 1428 and 1431 by Kurzmann's brother Heinrich Schäbel in the Cistercian monastery Neuberg an der Mürz.

Modern reception

Styrian literature trail of the Middle Ages in Neuberg an der Mürz

The Soliloquium of Andreas Kurzmann - Conversation about secrets of faith

The "Styrian Medieval Literature Paths" have been a unique network of eight themed paths since 2012, which bring their guests from near and far closer to exciting works of medieval Styrian literature directly at the place of their origin or tradition. With a length of 1.5 kilometers, the Neuberg Literature Trail leads around the monastery in the picturesque setting of the minster. You will witness the confidential conversation between the Mother of God and her son, you will gradually receive questions and answers about the most important questions of faith and you can only guess how Brother Andreas wrote his work in the venerable walls of the monastery.

Anthology on the Styrian Literature Paths of the Middle Ages

The book illustrates the close connection between the literary past and our present. Texts by contemporary authors are juxtaposed with literary testimonies from the Styrian Literature Paths of the Middle Ages and thus enter into a dialogue with medieval literature and its intellectual environment. Andreas Kurzmann and his poetry are also devoted to three texts in the over 300 pages of the anthology.

Work case on the Styrian Literature Paths of the Middle Ages

The work case on the Styrian Medieval Literature Paths is a supplement to the educational tourism offer of the Styrian Medieval Literature Paths and offers an innovative didactic mediation offer that focuses on Styrian medieval literature. The project's text portal offers an online text edition, a New High German translation and teaching material on the Soliloquium Marie cum Jhesu .

Exhibition #dichterleben - Medieval tweets from Styria

The exhibition on 5 outstanding poets from (medieval) Styria was designed by the University Association of Styrian Medieval Literature Paths in collaboration with the Sparkling Science Project Working case on the Styrian Medieval Literature Paths. Since May 2016, poetic messages and historical testimonies from Andreas Kurzmann and his fellow poets Ulrich von Liechtenstein, Herrand von Wildon, Hugo von Montfort and the monk brother Philipp von Seitz have been staged in a very special way in the Styrian State Archives in Graz.

anthology

Maria in Styria. Poems from nine centuries

The anthology, published by Moser Verlag in Graz in 1926, contains, in addition to other Mary poems such as Brother Philipps von Seitz or Gundacker's excerpts from two texts by Andreas Kurzmann ( Soliloquium , Speculum ). The texts of the volume were compiled and selected by Julius Franz Schütz, the excerpts from Kurzmann follow the edition by Anton Emmanuel Schönbach.

Text output

• Andreas Kurzmann: Soliloquium Marie cum Jhesu. Diplomatic impression based on the handwriting Graz, UB, Cod. 856 and trans. To Nhd. v. Andrea Hofmeister. Graz: Styrian University Association. Literature trails d. MA. 2012. (= Texts on the Styrian Literature Paths of the Middle Ages. 1.)
• Andreas Kurzmann: De quodam moriente - From a man who woldt do. Text print based on the manuscript Salzburg, UB, Cod. MI 138, fol. 249r – 251r, and translation by Andrea Hofmeister-Winter.

literature

• Jakob Franck:  Kurzmann, Andreas . In: Allgemeine Deutsche Biographie (ADB). Volume 17, Duncker & Humblot, Leipzig 1883, p. 432 f.
• Arnvid Unger: Andreas Kurzmann. A Neuberg poet monk. In: Zeitschrift des histor. Verein für Steiermark 99 (2008), pp. 121–132.
• Reinhard Härtel: Notarial and church documents in the early and high Middle Ages. Vienna [u. a.]: Böhlau [u. a.] 2011.
• Andrea Hofmeister-Winter: Andreas Kurzmann's soliloquium (around 1400) as a staging of an 'inner play'. In: The spiritual game of the European Middle Ages. Edited by Wernfried Hofmeister and Cora Dietl under redakt. Employee by Astrid Böhm. Wiesbaden: Reichert 2015. (= Yearbook of the Oswald von Wolkenstein Society. 20.), pp. 294–311.
• Andrea Hofmeister-Winter: Learning to die between the Middle Ages and the present. Andreas Kurzmann's poem 'De quodam moriente' as a source of inspiration for subject-oriented literature lessons. In: literature experiences. Current didactic concepts and reflections on conveying German-language texts between the Middle Ages and the present. Frankfurt am Main: Peter Lang 2015. (= Medieval studies between research, teaching and the public. 9.), pp. 277–304.
• Karin Morvay: Andreas Kurzmann. In: The German literature of the Middle Ages. Author Lexicon. 2nd, completely revised edition. Edited by Kurt Ruh. Volume 5. De Gruyter, Berlin / New York 1985, Sp. 469-471.
• Christine M. Rainer: The legend 'Amicus and Amelius' of Andreas Kurzmann. (Salzburg, UB, Cod. MI 138). Multi-layered edition, material history classification and glossary. Graz: Univ., MA-Arb. 2012, pp. 7-10.
• Peter Wiesinger: Some remarks on Andreas Kurzmann's rhyming translation of the Speculum humanae salvationis on the occasion of the edition project. In: The medieval literature in Styria. Edited by Alfred Ebenbauer, Fritz Peter Knapp and Anton Schwob. Peter Lang, Bern [a. a.] 1988. (= Yearbook for International German Studies. 23.), pp. 299–315.
• Peter Wiesinger: Reflexes of Spoken Language in Early New High German. Using the example of the Styrian poet Andreas Kurzmann. In: Verborum amor. Studies on the history and art of the German language. Festschrift for Stefan Sonderegger on the occasion of his 65th birthday. Edited by Harald Burger, Alois M. Haas and Peter von Matt. Berlin: De Gruyter 1992, pp. 361-395.
• Peter Wiesinger: Spelling and pronunciation in early early New High German. On the relationship between grapheme - phoneme - phon using the Bavarian-Austrian example by Andreas Kurzmann around 1400. De Gruyter, Berlin / New York 1996 (= Studia Linguistica Germanica , 42)

Web links

• Entry on De quodam moriente (Codex MI 138) in the manuscript census
• Entry on Amicus and Amelius (Codex MI 138) in the manuscript census
• Entry on St. Alban (Codex MI 138) in the manuscript census
• Entry on the Soliloquium Mariae cum Jhesu (Ms. 856) in the manuscript census
• Entry on Speculum humanae salvationis (Cod. 178 (formerly CCXXVII)) in the manuscript census
• Speculum humanae salvationis, rhytmice cum figuris pictis - BSB Clm 9716
• Homepage for the lecture "Styrian Literature of the Middle Ages" by Wernfried Hofmeister
• Homepage of the project "Styrian Literature Paths of the Middle Ages", location Neuberg an der Mürz
• Text portal of the project "Work case for the Styrian Literature Paths of the Middle Ages": online text output, translation and teaching material for the "Soliloquium Marie cum Jhesu"
• Links to the # Dichterleben exhibition: Literature Paths homepage
• The Soliloquium retold - project on language and media with the NMS Neuberg an der Mürz

Individual evidence

1. ↑ on this, for example: Peter Wiesinger: Reflexe spoken language in early New High German. Using the example of the Styrian poet Andreas Kurzmann . In: Harald Burger, Alois M. Haas, Peter von Matt (eds.): Verborum amor. Studies on the history and art of the German language . Festschrift for Stefan Sonderegger on the occasion of his 65th birthday. De Gruyter, Berlin 1992, pp. 361-395.
2. ↑ Peter Wiesinger: Some remarks on Andreas Kurzmann's rhyming translation of the Speculum humanae salvationis on the occasion of the edition project . In: Alfred Ebenbauer, Fritz Peter Knapp, Anton Schwob (eds.): The medieval literature in Styria . Peter Lang, Bern [a. a.] 1988, p. 300 (= Yearbook for International German Studies , 23).
3. ↑ Arnvid Unger: Andreas Kurz man - a poet Neuberger monk . In: Journal of the historical association for Styria , 99, 2008, pp. 123–126. Also: See Karin Morvay: Andreas Kurzmann . In: VL 5 . 2nd Edition. 1985, col. 469.
4. ↑ Reinhard Härtel: Notarial and church documents in the early and high Middle Ages . Böhlau [u. a.], Vienna [u. a.] 2011, p. 142.
5. ^ Andreas Kurzmann: Soliloquium Marie cum Jhesu . Diplomatic impression based on the handwriting Graz, UB, Cod. 856 and trans. To Nhd. v. Andrea Hofmeister. University Association of Styria. Literature trails d. MA., Graz 2012, p. 13 (= texts on the Styrian Literature Paths of the Middle Ages. 1.).
6. ↑ Unger, Andreas Kurzmann (see note 3), p. 127.
7. ↑ Unger: Andreas Kurzmann . S. 127–129 ( see note 3).
8. ↑ Peter Wiesinger: Spelling and pronunciation in older early New High German. On the relationship between grapheme - phoneme - phon using the Bavarian-Austrian example by Andreas Kurzmann around 1400. De Gruyter 1996, Berlin / New York, p. 8 f. (= Studia Linguistica Germanica , 42)
9. ↑ Andreas Kurzmann: Soliloquium Marie cum Jhesu (see note 5), p. 15.
10. ^ Wolfgang Wegner: Humbert von Romans. In: Werner E. Gerabek , Bernhard D. Haage, Gundolf Keil , Wolfgang Wegner (eds.): Enzyklopädie Medizingeschichte. De Gruyter, Berlin / New York 2005, ISBN 3-11-015714-4 , p. 641.
11. ↑ Unger, Andreas Kurzmann (see note 3), p. 129.
12. ^ Andreas Kurzmann: Soliloquium Marie cum Jhesu. (see note 8), p. 13.
13. ↑ Andrea Hofmeister-Winter: Learning to die between the Middle Ages and the present. Andreas Kurzmann's poem 'De quodam moriente' as a source of inspiration for subject-oriented literature lessons. In: literature experiences. Current didactic concepts and reflections on conveying German-language texts between the Middle Ages and the present. Frankfurt am Main: Peter Lang 2015. (= Medieval studies between research, teaching and the public. 9.), pp. 287–288.
14. ↑ Wiesinger, Speculum humanae salvationis (see note 2), p. 300.
15. ↑ Wiesinger, Speculum humanae salvationis (see note 2), p. 300.
16. ↑ Wiesinger, reflexes in spoken language in early New High German (see note 1), p. 362.
17. ↑ Unger, Andreas Kurzmann (see note 3), p. 131.
18. ↑ Wiesinger, Speculum humanae salvationis (see note 2), pp. 302–303.
19. ↑ Hofmeister-Winter, Learning to Die between the Middle Ages and the Present (see note 12), pp. 288–289, 295.
20. ↑ Hofmeister-Winter, Learning to Die between the Middle Ages and the Present (see note 12), p. 289.
21. ↑ Hofmeister-Winter, Learning to Die between the Middle Ages and the Present (see note 12), p. 289.
22. ↑ Christine M. Rainer: The legend 'Amicus and Amelius' by Andreas Kurzmann (Salzburg, UB, Cod. MI 138). Multi-layered edition, material history classification and glossary. Graz: Univ., MA-Arb. 2012, pp. 11-13, 25-27.
23. ↑ Rainer, Die Legende 'Amicus und Amelius' (see note 21), pp. 7-10.
24. ↑ Unger, Andreas Kurzmann (see note 3), 130.
25. ↑ Karin Morvay, Andreas Kurzmann. In: ²VL 5 (1985), col. 469-470.
26. ↑ Unger, Andreas Kurzmann (see note 3), p. 130.
27. ↑ Andrea Hofmeister-Winter: The Soliloquium of Andreas Kurzmann (around 1400) as a staging of an 'inner play'. In: The spiritual game of the European Middle Ages. Edited by Wernfried Hofmeister and Cora Dietl under redakt. Employee by Astrid Böhm. Wiesbaden: Reichert 2015. (= Yearbook of the Oswald von Wolkenstein Society. 20.), pp. 294–296.
28. ↑ Karin Morvay: Andreas Kurzmann. In: ²VL 5 (1985), col. 469-470.
29. ↑ Unger, Andreas Kurzmann. (see note 3), p. 129.