…formar modelli nuovi… Marino’s Poetics of the ,New‘ and the Structure of Literary Baroque in Italy

基于在第一个资助期内对塔索诗歌实践及其诗学反思所做的研究，该子项目试图调查G.B.马里诺的模仿诗学，将这些文学创作过程概念化为意大利巴洛克文学的特定时期指标。在塔索的情况下，强烈的趋势，对杂交的通用和文体的界限变得明显。塔索对这些混合的理论辩护基于两个支柱：一是通过个人的承认进行主观主义的方法，二是认为它们都是适当的和令人信服的。塔索的概念在基本的系统布局方面令人想起当代的说教，马里诺更进一步：后者对拍卖ingegno的大规模向上重估几乎消除了传统的规范性。取而代之的是自由组合的原则，遵循的是个人的诗意随想，而不是人文主义话语规则的超个人共识。塔索的杂交是面向整合的变化和差异，对建设一个新的语义和美学模式基本上符合形式的视野，旧的。另一方面，马里诺的《新模式》可能不是现代意义上的创新，而是以人文主义诗学和诗歌实践所熟悉的方式参照旧的剧目。然而，他们确实试图消除他们的参考点的区别性质和传统语义，特别是在从poema eroico到poema di pace的一般转变中（例如，塔索对维吉尔的引用明显带有炫耀性的引用，并唤起了史诗古典主义的某些概念;相比之下，马里诺对旧'的重新排列掩盖了他的引用）。在这种背景下，该项目建议扩大研究小组的总体概念的混合与描述性类别的，合并'，以便允许一个有针对性的描述，旧的'，新的'，在马里诺的关系。该项目不仅主要来自于该小组的共同研究兴趣，而且还提供了对一个历史星座的分析，这个星座在研究小组内部是不寻常的，甚至是奇异的，在这个星座中，新的类别“与旧的明显贬值同时建立”，作为制造作者有效性的特定时期的处理因素。

Based on research done during the first funding period concerning Tasso’s poetic practice and his poetological reflexions, the subproject seeks to investigate ,old‘-,new‘-relationships in G.B. Marino’s poetics of imitation, conceptualising these processes of literary production as period-specific indicators of ,baroque‘ literature in Italy. In Tasso’s case, strong tendencies towards the hybridisation of generic and stylistic boundaries became evident. Tasso’s theoretical justification of these hybridisations rests on two pillars: a ,subjectivistic‘ approach via individual concetti, and the argument that they are both appropriate and convincing. Reminiscent of contemporary homiletics in terms of their basic systematic layout, Tasso’s notions are taken a step further by Marino: the latter’s massive upward revaluation of auctorial ingegno all but eliminates the normativity of traditions. What replaces it is the principle of free combination, following the individual poetic capriccio rather than the supra-individual consensus of humanist rules of discourse. Tasso’s hybridisations were geared towards the integration of variance and difference, towards the construction of a ,new‘ semantic and aesthetic model largely consistent with the formal horizon of the ,old‘ one. Marino’s modelli nuovi, on the other hand, may not unfold as ,innovation‘ in the modern sense, referring as they do to ,old‘ repertoires in a manner familiar from humanist poetologies and poetic practice. They do, however, attempt to eradicate the differentiating qualities and traditional semantics of their reference points, especially in the generic shift from the poema eroico to the poema di pace (for example, Tasso’s references to Virgil were clearly marked with ostentatiously displayed quotations and evoked certain notions of epic Classicism; by contrast, Marino’s rearrangement of the ,old‘ obscures his references). Against this backdrop, the project proposes to expand the research group’s overarching concept of hybridisation with the descriptive category of ,amalgamation‘ in order to allow for a pointed description of the ,old‘-,new‘-relationships in Marino. Not only does the project derive its main impetus from the group’s joint research interests – it also provides an analysis of a historical constellation that is unusual, even singular, within the research group, a constellation in which the category of the ,new‘ is established simultaneously with a pronounced devaluation of the ,old‘ as a period-specific dispositif for the manufacturing of authorial validity.