Sur des pensers nouveaux faisons des vers antiques. On the Relationship of Enlightenment and Classicism in 18th-century French and Italian Literature

该子项目调查了18世纪法国文学（以及该项目的最后阶段意大利文学）中古典主义和启蒙运动之间的关系，从复杂的纠缠角度更充分地描述了经常假设的新旧对立，其中“旧”和“新”的地位不是先验的，而是首先需要解释的。因此，福柯话语考古学意义上的同质épistémè的概念受到了挑战。另一方面，以片面强调与前传统决裂为特征的“启蒙运动”的分期方法也受到质疑——在文学领域，通过关注很少或没有编纂的散文体裁，倾向于边缘化古典主义传统的方法。该项目旨在描述启蒙文学的新颖性，而不是通过关注个别内容，而是通过建立认识论的“基础”，通过阅读相关的主要文本来重建，考虑到现有的研究主题。通过分析诗歌和修辞教科书，该项目认为，依靠这种“基础”的作者可以继续与“经典主义”及其基本规则联系在一起，这种“主义”继续决定着诗歌话语，直到18世纪。伏尔泰的œuvre已被证明是一个恰当的例子：什么是认识论上的，“新”是以一种明显面向古典主义规范的方式传达的。案例研究涵盖了从悲剧到史诗再到较小的诗歌作品的广泛范围，表明这不是一个孤立的现象——恰恰相反，这里的证据是一个广泛的基础议程，反映在诗学考虑中，反过来又对马蒙泰尔等同时代人的诗学观念产生影响。在项目的最后阶段，调查范围将扩大到包括意大利文学，以确定是否在这种背景下也可以诊断出类似的古典主义和启蒙运动的纠缠，特别是在帕里尼的作品中。考虑到意大利的不同情况（18世纪的古典主义并没有立即跟随古典主义阶段），以及帕里尼的特定角色，将允许确定是否有类似的模式在起作用，以及在多大程度上具体的联系确实存在（例如，当帕里尼参考法国诗歌教科书时）。一方面，这将使该项目处于欧洲启蒙运动的背景下。另一方面，他对古典主义文学和“新”内容的具体结合将使研究变得容易。从这个意义上说，这个子项目也将有助于正在进行的辩论，即“启蒙运动”是否应该被视为一个单一的实体，或者是否只能在其不同的国家表现中得到适当的理解。

The subproject investigates the relationship between Classicism and Enlightenment in French (and, in the project’s final phase, Italian) 18th-century literature, describing the frequently assumed opposition of old and new more adequately in terms of a complex entanglement, where the status of ,old‘ and ,new‘ is not attributed a priori, but needs explication in the first place. Thus the notion of a homogenous épistémè in the sense of Foucault’s archaeology of discourse is challenged. On the other hand, approaches to the periodisation of ,Enlightenment‘ that are characterised by a one-sided emphasis on a break with anterior traditions are called into question, too – approaches which, in the field of literature, tend to marginalise classicist traditions by focusing on prose genres with little or no codification.The project aims to characterise the novelty of Enlightenment literature not by focusing on individual content, but rather, by establishing an epistemological ,foundation‘ that is to be reconstructed via readings of pertinent primary texts, taking account of existing research on the topic. By analysing poetic and rhetorical textbooks, the project argues that authors who make recourse to this ,foundation‘ can remain bound to a ‘doctrine classique’ and its basic rules, and that this ,doctrine‘ continues to determine the poetological discourse until well into the 18th century. Voltaire’s œuvre has proven to be a case in point: what is epistemically ,new‘ is conveyed in a way that is clearly oriented towards the norms of Classicism. The case studies covering a broad generic spectrum from tragedy via epic to smaller poetic works show that this is not an isolated phenomenon – quite the contrary, what is in evidence here is a broadly-based agenda which is reflected in poetological considerations, and which in turn exerts its influence on the poetological conceptions of contemporaries such as Marmontel.In the project’s final phase, the scope of inquiry will be expanded to include Italian literature in order to ascertain whether similar entanglements of Classicism and Enlightenment can be diagnosed in this context, too, especially in the works of Parini. Considering the different circumstances in Italy (where 18th-century Classicism does not immediately follow a classical phase), and Parini’s specific role will allow to ascertain whether similar patterns are at work, and to what extent concrete connections do in fact exist (for example when Parini refers to French poetic textbooks). On the one hand, this will allow the project to situate Parini within the context of the European Enlightenment. On the other hand, his specific combination of classicist literature and ‘new’ content will be rendered accessible to research. In this sense, the subproject will also contribute to the ongoing debate on whether ,Enlightenment‘ is to be considered as a single entity, or whether it can only be properly understood in its various national manifestations.