'Voix' and 'parole': Interdiscursive Voice Regimes in French and Italian Meditation Literature from the 16th and 17th Century

在特伦特理事会（1545-1563）之后，口头祈祷和精神祈祷之间的关系被重新评估：内心祈祷应给予优先考虑。这个新的公式，进入了特伦特的教义问答，并发出在所有教会的牧师，将在下面的文学研究项目的起点。内心祈祷与口头祈祷的增强和分离都给反宗教改革背景下的实践者带来了新的挑战：一方面，最重要的是，新的偏好意味着从（预定的）话语中相对“解放”;另一方面，这种新的自由所带来的也是一种新的义务。个体从业者必须找到自己的语言和声音。我的研究项目的目的首先是雕刻出这种新的自由和同时不确定的义务的文学和文化历史潜力。其次，将阐明在话语间语境（诗歌、歌剧、宫廷谈话、演讲）中特里当汀式语音形成的后果。这个问题是否从区分或甚至标记自我创造和口述文字之间的区别的指控中出现，暗示了祈祷和调解的文学化？内心的声音和外在的声音之间的区别在多大程度上导致了祈祷和冥想文学在声音和冥想方面的自我反思？祈祷和冥想中发出的是谁的声音，它的美学品质是什么？该项目的创新特点首先是它的理解冥想写作（如祈祷练习和诗歌）作为表演文学，其次是它的重点是interdiscursive交叉（显然）的声音形成的“完全”宗教过程。Tridentine的声音问题同时辐射到各种当代话语中。同样，它加强了对声音制度的理论反思，影响了声音的（实际）使用。更重要的是：这是多样性和当代的声音制度和使用的相互关联的观点，一直标志着内心祈祷的声音和由此产生的文学潜力的表演性。对这一文化挑战的比较分析，迄今为止只对法国或意大利进行了重点分析，是一个主要的desideratum。该项目的重点将是语音和话语的语义潜力，其中两个主要的分析链应通过相互依赖和历史定位的语音制度相联系。项目A）将比较分析导致法语和意大利语祈祷和默想写作的（前）国家印记的文化归属;项目B）将处理声音性别化的专题。应该指出的是，通过发出“女性”和“男性”（蒙面或挪用）的声音，产生了合法化的新的美学手段。

In the aftermath of the Council of Trent (1545-1563), the relation between verbal prayer and mental prayer was revalued: inner prayer should be given preference. This new formula, that entered the Catechism of Trent and was issued to priests in all congregations, will be at the starting point of the following literary research project. Both the enhancement and the dissociation of the inner prayer from the verbal one brought about new challenges for practitioners in the contexts of counter-reformation: On the one hand and most importantly, the new preference implied a relative ‘liberation’ from the (predetermined) word; on the other hand, what followed from this new freedom, was also a new obligation. Individual practitioners had to find their own words and voice. My research project aims firstly at carving out the literary and cultural historic potential of both this new freedom and simultaneously uncertain obligation. Secondly, light will be shed on the consequences of Tridentine voice formation in interdiscursive contexts (retorics, opera, courtly conversation, lecture). Has the question emerging from the charge to differentiate or even to mark a difference between self-creating and dictated word suggested the literarization of prayers and mediation? And in how far has the distinction between inner-mental and external-vocal voice lead to self-reflexivity of prayer and meditation literature in relation to voice and voicedness? Whose voice is uttered in prayer and meditation, and what are its aesthetic qualities?The project’s innovative character is firstly its understanding of meditation writing (e.g. devotional exercises and poems) as performative literature and secondly its focus on interdiscursive crossings resulting from an (apparently) ‘exclusively’ religious process of voice formation. The Tridentine question of voice radiates at the same time on a variety of contemporary discourses. In the same way it enhanced theoretical reflection of voice regimes, the (practical) use of voice was affected. Much more so: It is the view of the variety and interconnectedness of contemporary voice regimes and uses that has been marking the performativity of inner prayer voices and its resulting literary potentials. The comparative analysis of this cultural challenge, that has so far only been conducted with either a focus on France or Italy, is a major desideratum.The project’s focus will be on the semantic potential of voice and utterance, within which two main strands of analysis shall be marked that are linked through interdependent and historically locatable voice regimes. Project A) will engage in a comparative analysis of cultural ascriptions leading to (pre)national imprints on French and Italian prayer and meditation writing; project B) will deal with the topic of voice gendering. It shall be pointed out that through uttering ‘female’ and ‘male’ (masked or appropriated) voices new aesthetic means of legitimization were generated.