Transcendence as a Superlative and Internal Opposite of Adventure: Narratives of the Grail, Otherworld Scenarios and Oriental Spaces in Medieval Narrative Texts

该项目旨在重新评估中世纪骑士精神中对超越的参考。虽然人们通常认为冒险作为一种叙事形式是面向内在的，它以一种相当直接的方式预测了世俗的现代性，但我们认为这些参考文献对冒险文学史至关重要。我们沿着以下问题调查了三组文本：典型的冒险冲动如何超越和超越产生某些超越形象？这些人物形象又是如何延续冒险故事的呢？以下几组文本对我们的目的至关重要：(1)chrimtien和Wolfram的圣杯传奇，《兰斯洛特散文》和它的德语翻译，以及——粗略地说——中世纪最重要的改编和循环的延续。在这些文本中，与超越性重新进入内在性有关的悖论体现在圣杯逃避接近和理解的事实中。进一步，我们分析(2)。Wirnt von Grafenberg的“Wigalois”和Heinrich的“von dem t<e:1> rlin 'Diu Crône”作为13世纪德国亚瑟王浪漫主义的对比例子，通过从另一个世界的场景中获取主题来构建超越。第三，我们将重点放在“赫尔佐格·恩斯特”史诗和康拉德·弗莱克的“弗洛里斯曼”的不同版本上，在这些版本中，进入和穿越陌生和异国情调的东方空间需要延迟先验秩序的视界。此外，在分析中世纪文本的同时，我们的概念反思将使我们能够将关于超越的特征结构的研究问题转移到现代和当代的冒险实例中，特别是科幻电影中的相关幻想。

The project aims to reassess references to transcendence within medieval chivalrous âventiure. While it is commonly assumed that adventure as a narrative form is oriented towards immanence and that it anticipates secular modernity in a fairly straightforward way, we argue that these references are crucial to the literary history of adventure. We investigate three groups of texts along the following questions: How does the typically adventurous impulse to transgress and exceed generate certain figurations of transcendence? How do these figurations in their turn perpetuate adventurous storytelling? The following groups of texts are pivotal to our purpose: (1.) Chrétien’s and Wolfram’s romances of the grail, the 'Lancelot en prose' and its German translation as well as – in their rough outlines – the most important medieval adaptations and cyclic continuations. In these texts, the paradoxes related to the re-entry of transcendence into immanence manifest themselves in the fact that the grail evades access as well as comprehension. Furthermore, we analyze (2.) Wirnt von Grafenberg´s 'Wigalois' and Heinrich’s von dem Türlin 'Diu Crône' as contrasting examples of 13th-century German Arthurian romances that construct transcendence by means of motifs taken from Otherworld scenarios. Thirdly (3.), we focus on different versions of the 'Herzog Ernst' epic and Konrad Fleck’s 'Florisroman', where the entering and crossing of the unfamiliar and exotic space of the Orient entails the deferral of the transcendental order’s horizon. Moreover, while analyzing the medieval texts, our conceptual reflections will enable us to transfer our research questions concerning characteristic structures of transcendence to modern and contemporary instances of adventure, in particular to relevant fantasies in science fiction movies.