Coordination Funds

冒险的概念指的是讲故事的基本核心——“基本”在叙事学和心理学意义上都是如此。冒险不仅是一个真正的叙事术语，而且与其他基本文学概念不同，它是一个明显起源于中世纪的术语。事实证明，尽管在现代社会有很多针对它的批评，但这种以“文学”为名的叙事、感知和经验模式具有极强的适应性。它见证了不止一次的文学复兴，并跨越了文化的新领域（如电影、电脑游戏、广告、旅游等）。通常，在这种交叉中，冒险的原始叙事特征不再被考虑在内。因为这个角色本质上是文本化的，所以为了将这个术语整合到讲故事的人类学中，就需要用到冒险文字学。冒险要求我们反思机会、命运、勇气、风险和故事叙述的事件视界，反思我们对有意义的顺序的要求，以及我们创造意义的方式。作为一个包含叙事和经验方面的概念，冒险也使我们能够解决叙事的性欲维度，提出在结构叙事学的既定词汇中无法提出的问题。在第一个资助期，我们的研究小组建立了四种关于冒险的方法论观点：文学史观点、文学心理学观点、叙事学观点和小说理论观点。在第二个阶段，我们的目标是使这四方面的办法更加具体。我们将研究对冒险叙事学特别重要的三个经验领域的叙事表现：社会秩序、暴力和爱情。在另一个名为“超越冒险”的研究领域中，我们将专注于冒险叙事模式中的自我限制和自我越界。

The concept of adventure refers to an elementary nucleus of storytelling – ‘elementary’ in a narratological as well as in a psychological sense. Adventure is not only a genuinely narrative term, but also, and unlike other basic literary concepts, a term of distinctly medieval origin. The narrative, perceptual and experiential pattern that goes by that name has proved extremely adaptive, despite all the criticism levelled against it in the modern age. It has seen more than one literary renaissance and has crossed over into ever new areas of culture (like film, computer games, advertising, tourism, etc.). Often, in such crossovers the originally narrative character of adventure is no longer taken into account. Since that character is essentially textual a philology of adventure is required in order to integrate the term into an anthropology of storytelling. Adventures call for a reflection on chance, fate, daring, risk and the event horizons of storytelling, on our claim for meaningful sequence and on our ways of making sense. As a concept implicating narrative as well as experiential aspects, adventure also enables us to address the libidinal dimension of narrative, raising questions that cannot be asked in the established vocabulary of structural narratology. In the first funding period our research unit established four methodological perspectives on adventure: the points of view of literary history, the psychology of literature, narratology, and the theory of fiction. For the second period, our aim is to make this fourfold approach more concrete. We will investigate the narrative representation of three fields of experience which are of special importance to the narratology of adventure: social order, violence, and love. In an additional research area called “Beyond Adventure” we will focus on instances of self-limitation and self-transgression in the adventurous mode of storytelling.