Performative competency as basis for economically successful activity in Spanish and French novels of the early modern age. A historic discourse analysis of the correlation between theatrality, economics and subjectivity in 'minor' novelistic literature f

表演能力是近代早期西班牙和法国小说中经济成功活动的基础。

• 批准号: 313598971
• 负责人: Dr. Urs Urban
• 金额: --
• 依托单位: Institut für Romanistik
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2016
• 资助国家: 德国
• 起止时间: 2015-12-31 至 2021-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/313598971?language=en
• 关键词: Performative; competency; basis; economically; successful

The planned study wants to retrieve the literary knowledge about of the economic man in texts which have come into existence in the age 'before literature' (i.e. before the development of a literary field or system in the 18th century). The history of the entrepreneurial self reaches far back into history: it can be traced back till the moment when an early antetype of the bourgeois subject emanates from the interplay of theatrical and economic behaviour and becomes visible in the mediatic dispositive - i.e. on the scenes of theatres or in the literary text. Already in the Spanish literature of the second half of the 16th century such a constellation can be observed: In the picaresque novel (Lazarillo de Tormes, Guzmán de Alfarache, Pícara Justina, Buscón, Marcos de Obregón), subject, theatrality and economics meet in a paradigmatically new way. Here, the promise of the providential oikonomia that interconnects feudal and divine order is eroded by a new social logic which correlates exchange (Tausch) and the production of illusion (Täuschung) and that is market and spectacle. In the picaresque novel (already), that is what I want to affirm, performative competency turns out to be the basis of economically successful activity - already here exchange (Tausch) and the production of illusion (Täuschung) are functionally interlocked. And, this complex of problems shifts into 17th century French novel (Histoire comique de Francion, Le Page disgracié, Le Roman comique, Le Roman bourgeois) in order to give birth to the bourgeois subject that finds its final expression in the modern novel. The Lazarillo thus marks the beginning of a history of the literary modellation of the economic man. The study aims at reconstructing the literary genealogy of this subject with simultaneous consideration of its profiling in economically determined discursive contexts (which, they too, exist 'before economy': from Luis Ortiz, Montchrestien and Jacques Savary to Adam Smith and Jung-Stilling).

有计划的研究试图从“文学之前”（即18世纪世纪文学领域或文学体系发展之前）的文本中检索关于经济人的文学知识。企业家自我的历史可以追溯到很久以前的历史：它可以追溯到资产阶级主体的早期原型从戏剧行为和经济行为的相互作用中产生并在中介的处置中--即在戏剧场景或文学文本中--变得可见的时刻。在16世纪后半叶的西班牙文学中，已经可以观察到这样一个星座：在流浪汉小说（拉扎里洛·德·托尔梅斯、古兹曼·德·阿尔法拉奇、皮卡拉·贾斯蒂娜、布斯孔、马科斯·德·奥布雷贡）中，主题、戏剧性和经济学以一种新的范式方式相遇。在这里，将封建秩序和神圣秩序联系起来的天意性的“肖像经济”的承诺被一种新的社会逻辑所侵蚀，这种社会逻辑将交换（陶施）和幻觉的产生（陶宗）联系起来，这就是市场和景观。在流浪汉小说中（已经），这就是我想要确认的，表演能力被证明是经济上成功的活动的基础--在这里，交换（陶施）和幻觉的产生（陶崇）已经在功能上相互关联。这种复杂的问题转移到17世纪世纪的法国小说（《法兰西喜剧史》、《耻辱的书页》、《罗马喜剧》、《罗马资产阶级》）中，从而产生了资产阶级主题，并最终在现代小说中得到表达。因此，《拉扎里洛》标志着经济人文学模式化历史的开始。本研究旨在重建这一主题的文学谱系，同时考虑其在经济决定的话语语境中的轮廓（它们也存在于“经济之前”：从路易斯·奥尔蒂斯、蒙克雷斯蒂安和雅克·萨瓦里到亚当·斯密和荣格-斯蒂林）。