Sur des pensers nouveaux faisons des vers antiques. On the Relationship of Enlightenment and Classicism in 18th-century French and Italian Literature

Sur des pensers nouveaux faisons des verse 古董。

• 批准号: 289579935
• 负责人: Professor Dr. Klaus W. Hempfer
• 金额: --
• 依托单位: Institut für Romanische Philologie
• 依托单位国家: 德国
• 项目类别: Research Units
• 财政年份: 2016
• 资助国家: 德国
• 起止时间: 2015-12-31 至 2022-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/289579935?language=en
• 关键词: Sur; des; pensers; nouveaux; faisons

The subproject investigates the relationship between Classicism and Enlightenment in French (and, in the project’s final phase, Italian) 18th-century literature, describing the frequently assumed opposition of old and new more adequately in terms of a complex entanglement, where the status of ,old‘ and ,new‘ is not attributed a priori, but needs explication in the first place. Thus the notion of a homogenous épistémè in the sense of Foucault’s archaeology of discourse is challenged. On the other hand, approaches to the periodisation of ,Enlightenment‘ that are characterised by a one-sided emphasis on a break with anterior traditions are called into question, too – approaches which, in the field of literature, tend to marginalise classicist traditions by focusing on prose genres with little or no codification.The project aims to characterise the novelty of Enlightenment literature not by focusing on individual content, but rather, by establishing an epistemological ,foundation‘ that is to be reconstructed via readings of pertinent primary texts, taking account of existing research on the topic. By analysing poetic and rhetorical textbooks, the project argues that authors who make recourse to this ,foundation‘ can remain bound to a ‘doctrine classique’ and its basic rules, and that this ,doctrine‘ continues to determine the poetological discourse until well into the 18th century. Voltaire’s œuvre has proven to be a case in point: what is epistemically ,new‘ is conveyed in a way that is clearly oriented towards the norms of Classicism. The case studies covering a broad generic spectrum from tragedy via epic to smaller poetic works show that this is not an isolated phenomenon – quite the contrary, what is in evidence here is a broadly-based agenda which is reflected in poetological considerations, and which in turn exerts its influence on the poetological conceptions of contemporaries such as Marmontel.In the project’s final phase, the scope of inquiry will be expanded to include Italian literature in order to ascertain whether similar entanglements of Classicism and Enlightenment can be diagnosed in this context, too, especially in the works of Parini. Considering the different circumstances in Italy (where 18th-century Classicism does not immediately follow a classical phase), and Parini’s specific role will allow to ascertain whether similar patterns are at work, and to what extent concrete connections do in fact exist (for example when Parini refers to French poetic textbooks). On the one hand, this will allow the project to situate Parini within the context of the European Enlightenment. On the other hand, his specific combination of classicist literature and ‘new’ content will be rendered accessible to research. In this sense, the subproject will also contribute to the ongoing debate on whether ,Enlightenment‘ is to be considered as a single entity, or whether it can only be properly understood in its various national manifestations.

该子项目研究了18世纪法国（以及该项目的最后阶段，意大利）文学中古典主义和启蒙运动之间的关系，描述了经常假设的新与旧的对立，更充分地描述了复杂的纠缠，其中，“旧”和“新”的地位不是先验的，而是首先需要解释的。因此，福柯的话语考古学意义上的同质书信体的概念受到了挑战。另一方面，启蒙运动的分期方法，其特点是片面强调与先前传统的决裂，也受到了质疑--在文学领域，这种方法倾向于通过关注很少或没有编纂的散文类型来边缘化古典主义传统。该项目旨在通过关注个别内容来展示启蒙文学的新奇，而是通过建立一个认识论的基础，通过阅读相关的原始文本，考虑到现有的研究主题，重建。通过分析诗歌和修辞学教科书，该项目认为，作者谁使诉诸这一基础“可以保持绑定到一个'经典的学说'及其基本规则，这一学说”继续确定诗学话语，直到进入18世纪世纪。伏尔泰的《作品》就是一个很好的例子：“认识论上的新”是以一种明确面向古典主义规范的方式传达的。从悲剧到史诗，再到小型诗歌作品，涵盖了广泛的一般性范围的案例研究表明，这不是一个孤立的现象--恰恰相反，这里所证明的是一个基础广泛的议程，反映在诗学考虑中，反过来又对同时代人（如Marmontel）的诗学概念产生了影响。研究的范围将扩大到包括意大利文学，以确定是否类似的古典主义和启蒙运动的纠缠可以诊断在这种情况下，也，特别是在帕里尼的作品。考虑到意大利的不同情况（18世纪的古典主义并不直接遵循古典阶段），帕里尼的具体作用将允许确定是否类似的模式在工作中，以及在多大程度上确实存在具体的联系（例如，当帕里尼提到法国诗歌教科书）。一方面，这将使该项目在欧洲启蒙运动的背景下重新审视帕里尼。另一方面，他的古典文学和“新”内容的具体结合将提供研究。从这个意义上说，该分项目还将有助于正在进行的辩论，即“启蒙”是否应被视为一个单一的实体，或者是否只能在其各种国家表现形式中才能得到适当的理解。