ich bin niht niuwe –? Innovation/Novelty as Paradoxical Effect in the Medieval and Early Modern Discourse of Courtly Love

基于从13世纪到16世纪的文本的范式序列，该子项目的目的是走向一个历史敏感的诗学和创新/新奇的中世纪和现代早期的爱情诗的语用学。在这种真正的抒情诗学的核心，新的问题是，如何，旧的正式的，通用的和话语的传统成为交织在一起，新的重新组合嵌入在密集的互文性网络。通过将对文本传统的分析与基于语用学、诗学考虑和文本理论的论证紧密结合起来，“再文本化”的概念--就中世纪史诗而言，这是一种行之有效的方法--将被转移到抒情诗中，并根据抒情诗的特定表演、诗学和媒体相关的要求和条件进行修改。 第一个供资期的研究证实了该项目的主要论点：当涉及到研究诗歌转型过程中新旧矛盾的动态时，在大多数情况下，并不是文本参与了隐含的（暗示的，隐喻的，讽刺的，中间施为的）和/或明确的（论证的，自我反思的）话语化，旧的“和，新的”在对称或共时的形式，是特别系统和历史的意义，而是那些表现出时间和价值的反运动。 在第一个资助期的过程中证实的另一个假设是，在宫廷爱情的情况下，异质和异质的创新主张之间的紧张关系的谈判特别复杂，这是一个在语义学和认识论方面高度整合的主题。在客体层面和元层面上都存在争议，旧的和新的相互竞争的含义成倍增加并相互混合，产生了各种干扰：话语（世俗-精神，古典-宫廷-基督教），通用，媒体相关（口头与文学;手稿与印刷文本;文本与图像）和语言（白话文与拉丁文）。 两个互补的同步切口使笨重的材料财富易于管理：一个轨迹检查中世纪晚期双曲话语（Überkunstwerke：Hyperbole，Meta-art，Discursive Transgression）;另一种是14、15世纪的作家语料库（特别是雨果·冯·蒙特福特或米歇尔·贝海姆等短暂人物）以及双语（白话文和拉丁文）手稿missiphea（创新/新奇和多语言在中世纪晚期和早期现代话语的宫廷爱情）。与最初申请中详述的目标相比，该项目在两个主要方面进行了一定程度的修改：1.所涵盖的时间范围被有意地扩展到包括16世纪; 2.系统的细微差别使项目负责人和研究人员的研究领域更加精确地吻合。

Based on paradigmatic sequences of texts from the 13th to the 16th centuries, the subproject aims to move towards a historically sensitive poetics and pragmatics of innovation/novelty in medieval and Early Modern love poetry. At the heart of this genuinely lyrical poetics of the ,new‘ lies the question of how ,old‘ formal, generic and discursive traditions become intertwined in ,novel‘ re-combinations embedded in dense networks of intertextuality. By closely combining the analysis of textual traditions with arguments based on pragmatics, poetological considerations and text theory, the concept of ,retextualisation‘ – a well-established approach as far as the medieval epic is concerned – will be transferred to and modified in accordance with the specific performative, poetological and media-related demands and conditions of lyrical poetry. Research in the first funding period has validated the project’s key thesis: when it comes to examining the ambivalent dynamics of old and new involved in poetic processes of transformation, it is not, for the most part, the texts that engage in the implicit (allusive, metaphorical, ironic, medial-performative) and/or explicit (argumentative, self-reflexive) discursivisation of ,old‘ and ,new‘ in symmetrical or synchronic form that are of particular systematic and historical significance, but rather those that exhibit temporal and axiological counter-movements. Another hypothesis borne out in the course of the first funding period is that the negotiation of the tension between heterogenous and heterochronic claims of innovation is especially complex in the case of courtly love, a theme highly integrative in terms of semantics and epistemology. A matter of contention both on the object level and on the meta-level, the competing implications of ,old‘ and ,new‘ multiply and intermingle, producing a variety of interferences: discursive (secular-spiritual, classical-courtly-Christian), generic, media-related (oral vs. literary; manuscript vs. printed text; text vs. image) and linguistic (vernacular vs. Latin). Two complementary synchronic incisions render the unwieldy wealth of material manageable: one trajectory examines late medieval hyperbolic discourses (Überkunstwerke: Hyperbole, Meta-art, Discursive Transgression); the other involves author corpora of the 14th and 15th century (in particular of transitory figures such as Hugo von Montfort or Michel Beheim) as well as bilingual (vernacular and Latin) manuscript miscellanea (Innovation/Novelty and Multilingualism in the Late Medieval and Early Modern Discourse of Courtly Love). Compared to the objectives detailed in the initial application, the project has thus undergone a certain degree of modification in two central respects: 1. the timeframe covered has been deliberately extended to include the 16th century; 2. systematic nuancing has made it possible to dovetail the research areas of project leader and researcher even more precisely.