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.

中世纪晚期的白话中的文献包括一组相关文本，从中长到长度长，共享其相互依存的方面尚未得到充分检查。它们是a）第一人称叙事，b）专注于世俗/法庭爱的话题以及哪个c）在叙事和话语之间波动。另一个方面是，他们d）偶尔或在整个文本中采用寓言设备。这里的参考是诸如古老的法国罗马de la Rose或中高级德国明尼堡之类的文本。它们属于一组相关的文本，这些文本本质上似乎是人道上的，并以各种形式发生在整个欧洲（有关语料库摘要，请参见附录）。这组相关的文本将置于其历史背景下，即13和14世纪的比较分析，包括精选的，代表性的中高德语和古老的法国文本。但是，主要目的是描述文本的共同特征/方面和各种形式。为什么自动审判的爱情文本几乎总是由多种话语和叙事形式组成，而与其他主题（例如旅行叙事）或文学史（例如Picaresque小说）中的第一人称叙事相比，这在类型上的类型要小得多？看来，第一人称叙事比讲故事更好地进行了讨论。在文本语言学中，早在1960年代就引起了人们的注意，因为我们对语法时态的一般理解得到了重新定义（Harals Weinrich：tempus）。但是，到目前为止，叙事学还没有发现第一人称叙述者讲述的故事的特定发生的明确而定义的术语，这种讲故事的方法与讨论非常相似，该方法不断地跨越了话语形式，或者是由话语形式出现的；对于文本，也没有明确且定义的术语，其中诸如对话和独白之类的话语形式是由叙述所构建的。寓言在这种情况下扮演什么角色？为什么对叙述者的描述自身以寓言形式发生在传统上是庭审的经验？还是相反 - 作为定义类型的元素，寓言会在第一人称中（作为观察者和对话者）促进自己的故事的介绍，甚至促进故事的呈现？无论如何，人们肯定会观察到Amor，Venus或Cupid很少写的叙述是第三人称的。