First person - courtly love - allegory: a comparative analysis of first-person allegorical courtly love narratives in Middle High German and Old French

中世纪晚期的白话文学包括一组长短不等的相关文本，它们之间的相互依存关系尚未得到充分的研究。它们是a)第一人称叙事，b)关注世俗/宫廷爱情的主题，c)在叙述和话语之间波动。另一个方面是，他们偶尔或在整个文本中使用寓言手法。这里的参考文献是古法语罗马语de la Rose或中古高地德语Minneburg。它们属于一组相关文本，在本质上似乎是语际的，在整个欧洲以各种各样的形式出现（见附录的语料库摘要）。这组相关文本将被置于其历史背景下，即13和14世纪的典型比较分析，包括精选的，具有代表性的中古高地德语和古法语文本。然而，主要目的是描述文本的共同特征/方面和各种形式。为什么自述式宫廷爱情文本几乎总是由话语和叙事形式混合而成，与其他主题的第一人称叙事（如旅行叙事）或文学史后期的叙事（如流浪汉小说）相比，这种形式的同质化程度要低得多？比起讲故事，第一人称叙述似乎更适合讨论。在文本语言学中，早在20世纪60年代，当我们对语法时态的一般理解被重新定义时，人们就注意到了这一事实（Harals Weinrich: Tempus）。但到目前为止，叙事学还没有找到一个明确的术语来描述由第一人称叙述者讲述的故事的具体发生，这是一种与讨论非常相似的讲故事的方法，它不断地跨越了话语形式的界限，或者从话语形式中产生；对于话语形式如对话和独白由叙述构成的文本，也没有明确的定义。寓言在这个语境中扮演了什么角色？为什么叙述者对自己宫廷爱情经历的描述通常以寓言的形式出现？或者是另一种方式——寓言，作为一种类型定义元素，是否有助于甚至促进以第一人称（作为观察者和对话者）呈现故事？无论如何，人们可以肯定地观察到，阿莫尔、维纳斯或丘比特出现的叙事很少以第三人称写成。

The literature in the vernacular from the late Middle Ages includes a group of related texts from medium to long in length which share aspects whose interdependence has not been fully examined. They are a) first-person narratives which b) focus on the topic of worldly/courtly love and which c) fluctuate between narration and discourse. A further aspect is that they d) employ allegorical devices either occasionally or throughout the text. Here the reference is to texts such as the Old French Roman de la Rose or the Middle High German Minneburg. They belong to a group of related texts that seems to be interlingual in nature and occurs in a wide variety of forms throughout Europe (see the appendix for a corpus summary). This group of related texts will be placed in its historical context, that of the 13th and 14th centuries in an exemplary comparative analysis including selected, representative Middle High German and Old French texts. However, the primary aim is to describe the texts common features/aspects and various forms. Why do autodiegetic courtly love texts almost always consist of a mix of discursive and narrative forms, which is much less homogeneous in type than first-person narratives on other themes (such as travel narratives) or those from later periods in literary history (such as the picaresque novel)? It seems that the first-person narrative lends itself better to discussion than to storytelling. In textual linguistics, attention was called to this fact as early as the 1960s, as our general understanding of grammatical tenses was redefined (Harals Weinrich: Tempus). But narratology has not so far found a clear and defined term for the specific occurrence of the story told by a first-person narrator, a method of storytelling which closely resembles a discussion, which continually crosses the line into the discursive form, or which arises out of the discursive form; there is also no clear and defined term for texts in which discursive forms such as dialogues and monologues are framed by narration. And what role does allegory play in this context? Why does the description of a narrators own courtly love experience conventionally take place in allegorical form? Or is it the other way around - does allegory, as a type-defining element, lend itself to or even promote the presentation of the story in the first person (as observer and interlocutor)? In any case, one may certainly observe that narratives in which Amor, Venus or Cupid occur are rarely written in the third person.