Coordination Funds

冒险的概念指的是讲故事的一个基本核心--在叙事学和心理学意义上的“基本”。冒险不仅是一个真正的叙事术语，而且与其他基本的文学概念不同，它是一个明显起源于中世纪的术语。事实证明，以这个名字命名的叙事、感性和经验主义模式极具适应性，尽管现代社会对它提出了各种批评。它不仅经历了一次文学复兴，还跨越到了不断涌现的文化领域(如电影、电脑游戏、广告、旅游等)。通常，在这种跨界中，最初的冒险叙事特征不再被考虑在内。由于这个角色本质上是文本性质的，为了将这个术语整合到讲故事的人类学中，需要一个冒险的文献学。冒险需要反思偶然性、命运、胆量、风险和讲故事的事件视野，反思我们对有意义序列的要求，以及我们理解意义的方式。作为一个既涉及叙事又涉及经验方面的概念，冒险也使我们能够解决叙事的性欲维度，提出了在结构叙事学的既定词汇中无法提出的问题。在第一个资助时期，我们的研究单位建立了四个关于冒险的方法论观点：文学史观点、文学心理学、叙事学和小说理论。对于第二阶段，我们的目标是使这种四重方法更加具体。我们将研究三个经验领域的叙事表现，这三个领域对冒险叙事学特别重要：社会秩序、暴力和爱。在另一个名为“超越冒险”的研究领域，我们将重点关注冒险讲故事模式中的自我限制和自我超越的例子。

The concept of adventure refers to an elementary nucleus of storytelling – ‘elementary’ in a narratological as well as in a psychological sense. Adventure is not only a genuinely narrative term, but also, and unlike other basic literary concepts, a term of distinctly medieval origin. The narrative, perceptual and experiential pattern that goes by that name has proved extremely adaptive, despite all the criticism levelled against it in the modern age. It has seen more than one literary renaissance and has crossed over into ever new areas of culture (like film, computer games, advertising, tourism, etc.). Often, in such crossovers the originally narrative character of adventure is no longer taken into account. Since that character is essentially textual a philology of adventure is required in order to integrate the term into an anthropology of storytelling. Adventures call for a reflection on chance, fate, daring, risk and the event horizons of storytelling, on our claim for meaningful sequence and on our ways of making sense. As a concept implicating narrative as well as experiential aspects, adventure also enables us to address the libidinal dimension of narrative, raising questions that cannot be asked in the established vocabulary of structural narratology. In the first funding period our research unit established four methodological perspectives on adventure: the points of view of literary history, the psychology of literature, narratology, and the theory of fiction. For the second period, our aim is to make this fourfold approach more concrete. We will investigate the narrative representation of three fields of experience which are of special importance to the narratology of adventure: social order, violence, and love. In an additional research area called “Beyond Adventure” we will focus on instances of self-limitation and self-transgression in the adventurous mode of storytelling.