…formar modelli nuovi… Marino’s Poetics of the ,New‘ and the Structure of Literary Baroque in Italy

基于在第一个资助期间关于塔索诗歌实践和他的诗学反思的研究，该子项目旨在调查G.B.马里诺模仿诗学中的旧“-，新”关系，将这些文学生产过程概念化为意大利巴洛克文学的特定时期指标。在塔索的情况下，强烈倾向于杂交的一般和风格的界限变得明显。塔索对这些杂交的理论论证基于两个支柱：一是通过个人概念的主观主义方法，二是它们既适当又令人信服的论点。就其基本的系统布局而言，塔索的观念让人联想到当代的讲道学，而马里诺则更进一步：后者对作者自我的大规模向上重估，几乎消除了传统的规范性。取代它的是自由组合的原则，遵循个人的诗歌随意性，而不是人文主义话语规则的超个人共识。塔索的混合是为了整合变异和差异，为了构建一个新的“语义和美学模型，在很大程度上与旧的形式视界一致”。另一方面，马里诺的“新模式”可能不会以现代意义上的“创新”展开，就像他们所做的那样，以一种与人文主义诗学和诗歌实践熟悉的方式提及旧的“曲目”。然而，他们确实试图消除其参考点的区别性质和传统语义，特别是在从情爱诗到节奏诗的一般转变中（例如，塔索对维吉尔的引用明显标记为炫耀的引用，并唤起了史诗古典主义的某些概念；相比之下，马里诺对“旧”的重新安排模糊了他的参考点）。在此背景下，该项目建议将研究小组的混合概念扩展为“合并”的描述性类别，以便对马里诺的“旧”-“新”关系进行有针对性的描述。该项目的主要推动力不仅来自于小组的共同研究兴趣，而且还提供了对一个历史星座的分析，这个星座在研究小组中是不寻常的，甚至是奇异的，在这个星座中，“新”的类别与“旧”的明显贬值同时建立，作为制造作者有效性的特定时期的有利因素。

Based on research done during the first funding period concerning Tasso’s poetic practice and his poetological reflexions, the subproject seeks to investigate ,old‘-,new‘-relationships in G.B. Marino’s poetics of imitation, conceptualising these processes of literary production as period-specific indicators of ,baroque‘ literature in Italy. In Tasso’s case, strong tendencies towards the hybridisation of generic and stylistic boundaries became evident. Tasso’s theoretical justification of these hybridisations rests on two pillars: a ,subjectivistic‘ approach via individual concetti, and the argument that they are both appropriate and convincing. Reminiscent of contemporary homiletics in terms of their basic systematic layout, Tasso’s notions are taken a step further by Marino: the latter’s massive upward revaluation of auctorial ingegno all but eliminates the normativity of traditions. What replaces it is the principle of free combination, following the individual poetic capriccio rather than the supra-individual consensus of humanist rules of discourse. Tasso’s hybridisations were geared towards the integration of variance and difference, towards the construction of a ,new‘ semantic and aesthetic model largely consistent with the formal horizon of the ,old‘ one. Marino’s modelli nuovi, on the other hand, may not unfold as ,innovation‘ in the modern sense, referring as they do to ,old‘ repertoires in a manner familiar from humanist poetologies and poetic practice. They do, however, attempt to eradicate the differentiating qualities and traditional semantics of their reference points, especially in the generic shift from the poema eroico to the poema di pace (for example, Tasso’s references to Virgil were clearly marked with ostentatiously displayed quotations and evoked certain notions of epic Classicism; by contrast, Marino’s rearrangement of the ,old‘ obscures his references). Against this backdrop, the project proposes to expand the research group’s overarching concept of hybridisation with the descriptive category of ,amalgamation‘ in order to allow for a pointed description of the ,old‘-,new‘-relationships in Marino. Not only does the project derive its main impetus from the group’s joint research interests – it also provides an analysis of a historical constellation that is unusual, even singular, within the research group, a constellation in which the category of the ,new‘ is established simultaneously with a pronounced devaluation of the ,old‘ as a period-specific dispositif for the manufacturing of authorial validity.