First person - courtly love - allegory: a comparative analysis of first-person allegorical courtly love narratives in Middle High German and Old French

中世纪晚期的白话文学包括一组从中长篇到长篇的相关文本，这些文本具有共同的方面，这些方面的相互依存关系没有得到充分的考察。它们是第一人称叙事，b)聚焦于世俗/宫廷之爱的主题，c)在叙事和话语之间波动。另一个方面是，他们使用寓言的手段，或偶尔或整个文本。这里指的是古法语罗马文《德拉罗斯》或中高德文《明尼堡》等文本。它们属于一组相关的文本，似乎是语际间的，在整个欧洲以各种各样的形式出现(参见附录的语料库摘要)。这组相关文本将被置于其历史背景下，13世纪和14世纪的历史背景下进行示范比较分析，包括精选的、具有代表性的中高级德语和古法语文本。然而，主要目的是描述文本的共同特征/方面和各种形式。为什么自言自语的宫廷爱情文本几乎总是由话语和叙事形式的混合组成，在类型上比其他主题的第一人称叙事(如旅行叙事)或文学史后期的第一人称叙事(如流浪汉小说)要少得多？第一人称叙事似乎更适合讨论，而不是讲故事。在篇章语言学中，这一事实早在20世纪60年代就引起了人们的注意，因为我们对语法时态的一般理解被重新定义了(Harals Weinrich：Tempus)。但到目前为止，叙事学还没有找到一个明确定义的术语来描述第一人称叙述者讲述的故事的具体发生，这种讲故事的方法非常类似于讨论，不断地跨越界线进入话语形式，或者产生于话语形式；也没有明确定义的术语来描述以叙述为框架的话语形式，如对话和独白。而寓言在这一背景下又扮演着什么角色？为什么叙述者自己的宫廷爱情经历的描述通常是以寓言的形式发生的？或者反过来--寓言作为一种定义类型的元素，是否有助于甚至促进故事以第一人称(作为观察者和对话者)的呈现？无论如何，人们肯定会注意到，发生在爱神、维纳斯或丘比特身上的叙事很少用第三人称来写。

The literature in the vernacular from the late Middle Ages includes a group of related texts from medium to long in length which share aspects whose interdependence has not been fully examined. They are a) first-person narratives which b) focus on the topic of worldly/courtly love and which c) fluctuate between narration and discourse. A further aspect is that they d) employ allegorical devices either occasionally or throughout the text. Here the reference is to texts such as the Old French Roman de la Rose or the Middle High German Minneburg. They belong to a group of related texts that seems to be interlingual in nature and occurs in a wide variety of forms throughout Europe (see the appendix for a corpus summary). This group of related texts will be placed in its historical context, that of the 13th and 14th centuries in an exemplary comparative analysis including selected, representative Middle High German and Old French texts. However, the primary aim is to describe the texts common features/aspects and various forms. Why do autodiegetic courtly love texts almost always consist of a mix of discursive and narrative forms, which is much less homogeneous in type than first-person narratives on other themes (such as travel narratives) or those from later periods in literary history (such as the picaresque novel)? It seems that the first-person narrative lends itself better to discussion than to storytelling. In textual linguistics, attention was called to this fact as early as the 1960s, as our general understanding of grammatical tenses was redefined (Harals Weinrich: Tempus). But narratology has not so far found a clear and defined term for the specific occurrence of the story told by a first-person narrator, a method of storytelling which closely resembles a discussion, which continually crosses the line into the discursive form, or which arises out of the discursive form; there is also no clear and defined term for texts in which discursive forms such as dialogues and monologues are framed by narration. And what role does allegory play in this context? Why does the description of a narrators own courtly love experience conventionally take place in allegorical form? Or is it the other way around - does allegory, as a type-defining element, lend itself to or even promote the presentation of the story in the first person (as observer and interlocutor)? In any case, one may certainly observe that narratives in which Amor, Venus or Cupid occur are rarely written in the third person.