Dialectics of Adventure in the Early Modern Period: Ariosto and Cervantes

该项目是基于一个平行的阅读阿里奥斯托的奥兰多furioso（1516/1532）和塞万提斯的堂吉诃德（1605/15），采取重要的解释线索，从后者的阅读的第一。从这个Vantage的角度来看--从长期接受史的角度来看--这两部作品都可以被看作是从中世纪艳遇到现代小说的文本链条中的关键环节。在这两个文本中，都发生了对早期宫廷冒险叙事的反思，摧毁了这种叙事，同时也改变了这种叙事。这种反思主要但不完全是以戏仿的方式进行的。此外，这两个文本似乎在他们的基本诊断某种“脱钩”的冒险与现实的可比性。对于这种状况，他们的反应是分裂叙事模式：将几种不同的、实际上相互冲突的冒险类型交织在一起。然而，这些类型之间的矛盾为叙事创新奠定了基础：它们产生了新的自反性叙事技巧。尽管塞万提斯散文和阿利奥斯坦罗曼佐之间存在着历史和诗歌上的差异，但这一观察对两种文本都是正确的;事实上，它定义了它们在将冒险转变为浪漫实体的过程中所扮演的关键角色。通过对这两部作品的平行阅读，我们旨在确立它们各自在现代小说谱系中的地位，更准确地界定它们各自的叙事方案，并对它们之间的互文关系这一有争议的问题提供新的视角。因此，为我们的项目奠定了基础，我们计划在两个重点领域开展工作，一个致力于《堂吉诃德》中的“地中海冒险类型”，另一个致力于《奥兰多狂热》中的“欲望冒险”。

The project is predicated on a parallel reading of Ariosto's Orlando furioso (1516/1532) and Cervantes's Don Quijote (1605/15), taking important interpretive clues from the latter's reading of the first. From this vantage point - as from the point of view of their long-term reception history - both works can be seen as crucial links in the textual chain that runs from medieval aventure to the modern novel. In both texts a reflection of earlier courtly adventure narratives takes place, destroying and at the same time transforming that type of narrative. This reflection operates mainly, but not exclusively in the mode of parody. In addition, both texts seem comparable in their basic diagnosis of a certain 'decoupling' of adventure from reality. To this state of affairs they react by splitting the narrative pattern: by entwining several different, indeed conflicting types of adventure. However, the contradictions between these types prepare the ground for narrative innovation: they generate new techniques of reflexive storytelling. Despite all the historical and poetic differences between Cervantine prose and Ariostan romanzo, this observation holds true for both texts; indeed it defines the key role they play in the process of transforming adventure into an entity of romance. By reading both works in a parallel arrangement we aim at establishing their respective positions in the genealogy of the modern novel, defining their respective narrative projects more precisely, as well as shedding new light on the contested issue of their intertextual relationship. Having thus laid the foundations for our project, we plan to work on two focus areas, one dedicated to the "Mediterranean adventure genre" in Don Quijote, the other to the "adventure of desire" in Orlando furioso.