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

基于13世纪至16世纪的文本范例序列，该分项目旨在走向中世纪和早期现代爱情诗中创新/新奇的历史敏感的诗学和语用学。这种真正抒情的新诗学的核心是一个问题，即旧的形式、一般和话语传统如何相互交织在一起，小说的重新组合嵌入到密密麻麻的互文性网络中。通过将对文本传统的分析与基于语用学、诗学思考和文本理论的论证紧密结合起来，重新语境化的概念--就中世纪史诗而言是一种成熟的方法--将被转移到并根据抒情诗的具体表演性、诗学和媒介相关的需求和条件进行修改。第一个资助期的研究证实了该项目的关键论点：当涉及到考察新旧在诗意的转变过程中的矛盾动态时，大部分文本不是以具有特殊系统和历史意义的对称或同步形式对旧的和新的进行隐含(典故、比喻、讽刺、中间表现)和/或显性(争辩、自我反省)论述的文本，而是那些展示时间和价值反运动的文本。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，异质和异质创新主张之间的紧张关系的谈判尤其复杂，从语义和认识论的角度来看，这是一个高度整合的主题。这是一个在对象层面和元层面上的争论问题，旧‘和新’的相互竞争的含义倍增和混合，产生了各种干扰：话语(世俗精神、古典-宫廷-基督教)、一般、与媒体有关的(口头与文学；手稿与印刷文本；文本与图像)和语言(白话与拉丁文)。两个互补的同步切面使得这些笨拙的丰富素材易于管理：一个轨迹考察了中世纪晚期的双曲话语(uberkunstwerke：夸张、元艺术、话语越轨)；另一个轨迹涉及14世纪和15世纪的作家语料库(特别是雨果·冯·蒙福特或米歇尔·贝海姆等短暂人物的语料库)以及双语(白话和拉丁语)手稿杂文(中世纪晚期和现代早期宫廷爱情话语的创新/新颖和多语言)。与最初申请中详述的目标相比，该项目在两个核心方面进行了一定程度的修改：1.所涵盖的时间范围被刻意延长，以包括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能够更精确地衔接。

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.