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

在第一个资助期对塔索的诗歌实践和他的诗学反思所做的研究的基础上，子项目试图调查G.B.马里诺模仿诗学中的旧的和新的关系，将这些文学生产过程概念化，作为意大利巴洛克文学的特定时期的指标。在塔索的案例中，通俗和风格界限混合的强烈倾向变得明显。塔索对这些杂合的理论辩护依赖于两个支柱：一是通过个人意念的主观主义方法，另一个论点是它们都是适当和令人信服的。就其基本的系统布局而言，塔索的概念让人想起当代的说教，马里诺更进一步：后者对拍卖业的内向进行了大规模的重新估值，几乎消除了传统的规范性。取而代之的是自由结合的原则，遵循个人诗意的随机应变，而不是人文主义话语规则的超个人共识。塔索的混合是为了整合差异和差异，构建一种与旧模式的形式视界基本一致的新的语义和美学模式。另一方面，马里诺的莫代利·诺维可能不会像现代意义上的创新一样，以一种从人文主义诗学和诗歌实践中熟悉的方式来展示旧的‘剧目’。然而，他们确实试图消除他们的参照点的区别性质和传统语义，特别是在从poema eroico到poema di pace的一般转移中(例如，塔索对Virgil的引用明显地标上了炫耀的引语，并唤起了某些史诗古典主义的概念；相比之下，Marino对旧的引用的重新安排模糊了他的引用)。在此背景下，该项目建议扩大研究小组的总体概念，将其与“融合”这一描述性类别结合在一起，以便能够有针对性地描述马里诺的旧的“新的”关系。该项目不仅从该小组的共同研究兴趣中获得其主要推动力--它还提供了对研究小组内不同寻常的、甚至是独一无二的历史星座的分析，在该星座中，新的“新的”类别与明显的旧的“贬值”类别同时被确立为制造作者有效性的特定时期的处置。

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.