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

第一人称宫廷爱情寓言：中古高地德语和古法语第一人称寓言宫廷爱情叙事的比较分析

• 批准号: 318929283
• 负责人: Professorin Dr. Katharina Philipowski
• 金额: --
• 依托单位: Institut für Germanistik
• 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 2020-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/318929283?language=en
• 关键词: First; person; courtly; love; allegory

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.

中世纪晚期的白话文学包括一组从中到长的相关文本，这些文本具有共同的方面，但它们的相互依赖性尚未得到充分研究。它们是：a）第一人称叙事，B）关注世俗/宫廷爱情的主题，c）在叙事和话语之间波动。另一个方面是，他们d）采用寓言的手段，无论是偶尔或整个文本。这里指的是古法语Roman de la Rose或中古高地德语Minneburg等文本。它们属于一组相关的文本，似乎是语际性质的，在整个欧洲以各种形式出现（见附录的语料库摘要）。这组相关的文本将被放置在其历史背景下，即13和14世纪的一个典型的比较分析，包括选定的，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。为什么自叙式的宫廷爱情文本几乎总是由话语和叙事形式的混合体组成，与其他主题的第一人称叙事（如旅行叙事）或文学史后期的第一人称叙事（如流浪汉小说）相比，它在类型上的同质性要小得多？第一人称叙事似乎更适合讨论，而不是讲故事。在语篇语言学中，早在20世纪60年代，随着我们对语法时态的一般理解被重新定义，人们就注意到了这一事实（Harals Weinrich：Tempus）。但是，叙事学迄今为止还没有找到一个明确定义的术语来描述由第一人称叙述者讲述的故事的具体发生，这是一种非常类似于讨论的讲故事方法，它不断地跨越界限进入话语形式，或者从话语形式中产生;也没有一个明确定义的术语来描述话语形式（如对话和独白）被叙事框定的文本。寓言在这个语境中扮演了什么样的角色？为什么叙述者对自己宫廷爱情经历的描述通常采用寓言的形式？或者是反过来--寓言作为一种类型定义元素，是否有助于甚至促进故事以第一人称（作为观察者和对话者）呈现？在任何情况下，人们都可以肯定地看到，发生在阿莫尔、维纳斯或丘比特身上的故事很少用第三人称来写。