Coordination Funds

协调基金

• 批准号: 391707582
• 负责人: Professor Dr. Martin von Koppenfels
• 金额: --
• 依托单位: Institut für Allgemeine und Vergleichende Literaturwissenschaft (Komparatistik)
• 依托单位国家: 德国
• 项目类别: Research Units
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/391707582?language=en
• 关键词: Coordination; Funds

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.

冒险的概念指的是讲故事的基本核心——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，而且与其他基本文学概念不同，它是一个明显起源于中世纪的术语。尽管现代社会对它提出了各种批评，但事实证明，以这个名字命名的叙事、感知和体验模式具有极强的适应性。它见证了不止一次的文学复兴，并跨越了新的文化领域（如电影、电脑游戏、广告、旅游等）。通常，在这种交叉中，冒险的最初叙事特征不再被考虑。由于该角色本质上是文本性的，因此需要冒险语言学才能将该术语整合到讲故事的人类学中。冒险需要反思机会、命运、勇气、风险和讲故事的事件视野，反思我们对有意义的序列的主张以及我们理解意义的方式。作为一个涉及叙事和体验方面的概念，冒险还使我们能够解决叙事的力比多维度，提出结构叙事学既定词汇中无法提出的问题。在第一个资助期间，我们的研究单位建立了四种冒险方法论观点：文学史观点、文学心理学、叙事学和小说理论。在第二阶段，我们的目标是使这四重方法更加具体。我们将研究对冒险叙事学特别重要的三个经验领域的叙事表征：社会秩序、暴力和爱情。在另一个名为“超越冒险”的研究领域，我们将重点关注冒险叙事模式中自我限制和自我超越的实例。