Historical Narratology and Spatial Chronicles: Narratives of origin and foundation in 15th century vernacular chronicle writing based on the example of Old Bavaria

该项目通过叙事学的方法考察了在中世纪和早期现代之间的过渡时期编写的历史文本语料库。这些文本在德语研究中很少涉及。重点是安德烈亚斯·冯·雷根斯堡、乌尔里希·富特勒、汉斯·埃布兰·冯·威尔登伯格和维特·阿恩佩克在15世纪用通俗散文写成的《巴伐利亚纪事》。这些编年史不仅将相互比较，而且还将与来源--包括初步版本和竞争版本--从不同的编年史背景中提取，如宇宙编年史、修道院编年史和城市编年史，它们相应地具有不同的时间结构范围和空间与时间之间相互作用的概念。这种比较是通过祖先和王朝起源的叙事模式来构建的，涉及政治行为者身份的出现，以及修道院和城市基础的叙事，涉及这种身份随着时间的推移在维特尔斯巴赫王朝领土上的客观化。对起源和基础的叙述反映了空间和时间相互依存的不同形式，这是《巴伐利亚纪事》的特点。因此，叙事学分析着眼于这种相互依赖，试图阐明这种相互依赖对叙事情境(S)、人物设计、叙事视角、连贯的形成以及叙事方案等问题有何影响。就整个《巴伐利亚纪事》而言，一个核心问题是，空间和时间之间的协调是否以及在多大程度上开始从以前的空间化历史概念转向二维概念(Vorstellungsfläche，Dünne)：与行程类似，空间的纪念本质上仍然伴随着一种三维的，即可体验的轨道重建，即创始人物在神的指引下，通过创造相继铺设的轨道？或者，受“Verflachung”(Krämer)的文化技巧的影响，编年史偏爱鸟瞰，将同时感知的物体的非同时性“扁平”，正如哈特曼·舍德尔的“世界纪事”首次在德国地图中所看到的那样？因此，叙事学的分析甚至可以产生一个特定地区的纪念性的“图解”，从而使“巴伐利亚纪事”在历史叙事学中处于至关重要的地位。

The project examines by means of narratology a corpus of historiographic texts written in the transition period between the middle ages and early modern times. These texts have been rarely dealt with in German studies. The focus is pointed on the ‘Chronicles of Bavaria’, written in popular prose during the 15th century by Andreas von Regensburg, Ulrich Füetrer, Hans Ebran von Wildenberg and Veit Arnpeck. The chronicles will not only be compared to each other, but also to sources – including preliminary and competing versions – pulled from different chronicle contexts such as universal, monastery and city chronicles, with correspondingly different scopes of time structuring and concepts of interaction between space and time. The comparison is structured by the pattern of ancestral and dynastic narratives of origin, dealing with the emergence of the political actors’ identity, as well as by narratives of monastery and city foundation, dealing with objectivations of this identity in the territory of the Wittelsbach dynasty over time. Narratives of origin and foundation reflect the different forms of interdependency of space and time, which are characteristic for the ‘Chronicles of Bavaria’. Therefore, the narratological analysis focuses on this interdependency and seeks to clarify in which way the interdependency between space and time affects questions of (the) narrating instance(s), figure design, narrative perspective and the formation of coherence as well as narrative schemes. Regarding the ‘Chronicles of Bavaria’ as a whole, a central question is whether and to what extent the coordination between space and time begins to shift from a former concept of spatialized history to the two-dimensional concept of “Vorstellungsfläche” (Dünne): Is, similar to itineraries, the commemoration of space still essentially accompanied by a three- dimensional, i.e. experienceable reconstruction of tracks, which the founding figures, guided by divine providence, have successively laid out through creation? Or do, influenced by the cultural technique of “Verflachung” (Krämer), the chronicles give preference to a bird’s eye view, ‘flattening’ the non-simultaneity of simultaneously percepted objects as it can be seen in the map of Germany transmitted for the first time by Hartmann Schedel’s ‘Weltchronik’? Thus a narratological analysis can even produce a memorial ‘diagramming’ of a specific territory, so that the ‘Chronicles of Bavaria’ shift in a position of crucial importance for historical narratology.