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

马里诺的新诗学和意大利巴洛克文学的结构

• 批准号: 289580177
• 负责人: Professor Dr. David Nelting
• 金额: --
• 依托单位: Romanisches Seminar
• 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/289580177?language=en
• 关键词: formar; modelli; nuovi; Marino; Poetics

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.

基于第一个资助期间关于塔索的诗歌实践和诗学反思的研究，该子项目旨在调查英国的“旧”、“新”关系。马里诺的模仿诗学，将这些文学创作过程概念化为意大利巴洛克文学特定时期的指标。在塔索的例子中，通用和风格界限混合的强烈倾向变得明显。塔索对这些混合的理论论证依赖于两个支柱：通过个人具体内容的“主观主义”方法，以及它们既适当又令人信服的论点。就其基本系统布局而言，塔索的概念让人想起当代的说教学，马里诺将塔索的概念更进一步：后者对行政英格诺的大规模向上重估几乎消除了传统的规范性。取而代之的是自由组合的原则，遵循个人的诗意随想，而不是人文主义话语规则的超个人共识。塔索的杂交旨在整合差异和差异，构建一种与旧的形式视野基本一致的新的语义和美学模型。另一方面，马里诺的新模式可能不会展现出现代意义上的“创新”，而是以人文主义诗学和诗歌实践中熟悉的方式引用“旧”曲目。然而，他们确实试图消除其参考点的差异性和传统语义，特别是在从《英雄诗》到《速度诗》的一般性转变中（例如，塔索对维吉尔的引用明显标有夸张的引文，并唤起了史诗古典主义的某些概念；相比之下，马里诺对“旧”的重新排列掩盖了他的参考）。在此背景下，该项目建议将研究小组的总体杂交概念与“融合”的描述性类别相结合，以便能够对马里诺的“旧”、“新”关系进行有针对性的描述。该项目不仅从该小组的联合研究兴趣中获得主要推动力，而且还提供了对研究小组内不寻常甚至奇异的历史星座的分析，在这个星座中，“新”范畴的建立与“旧”类别的明显贬值同时发生，作为制造作者有效性的特定时期的配置。