Historical Narratology and Spatial Chronicles: Narratives of origin and foundation in 15th century vernacular chronicle writing based on the example of Old Bavaria

该项目通过叙事学的方法考察了中世纪和近代早期之间的过渡时期的历史编纂文本语料库。这些文本在德国研究中很少涉及。重点是“巴伐利亚编年史”，写在流行的散文在世纪的安德烈亚斯冯里根斯堡，乌尔里希Füetrer，汉斯埃布兰冯Wildenberg和法伊特阿恩佩克。这些编年史不仅会相互比较，而且会与来自不同编年史背景（如宇宙编年史、修道院编年史和城市编年史）的来源（包括初步版本和竞争版本）进行比较，这些来源具有相应的不同时间结构范围和空间与时间之间相互作用的概念。比较的结构是由祖先和王朝的起源叙事的模式，处理政治行为者的身份的出现，以及修道院和城市基础的叙事，处理随着时间的推移，在维特尔斯巴赫王朝的领土上这种身份的客观化。起源和基础的叙述反映了空间和时间相互依存的不同形式，这是“巴伐利亚编年史”的特征。因此，叙事学分析关注这种相互依存关系，并试图阐明时空的相互依存关系如何影响叙事实例、人物设计、叙事视角、连贯性的形成以及叙事方案等问题。就整个《巴伐利亚编年史》而言，一个中心问题是，空间和时间之间的协调是否以及在多大程度上开始从以前的空间化历史概念转向二维的“Vorstellungsfläche”（Dünne）概念：是，类似于行程，纪念空间仍然基本上伴随着三维，即经验重建的轨道，是那些受神的普罗维登斯指引的创始人们通过创造而相继建立起来的吗？或者，受“Verflachung”（Krämer）文化技巧的影响，编年史更倾向于鸟瞰，“扁平化”同时感知的对象的非连续性，正如哈特曼·谢德尔的“世界编年史”第一次传播的德国地图中所见？因此，叙事学分析甚至可以产生一个特定领域的纪念性“回忆”，因此“巴伐利亚编年史”在历史叙事学中的地位至关重要。

The project examines by means of narratology a corpus of historiographic texts written in the transition period between the middle ages and early modern times. These texts have been rarely dealt with in German studies. The focus is pointed on the ‘Chronicles of Bavaria’, written in popular prose during the 15th century by Andreas von Regensburg, Ulrich Füetrer, Hans Ebran von Wildenberg and Veit Arnpeck. The chronicles will not only be compared to each other, but also to sources – including preliminary and competing versions – pulled from different chronicle contexts such as universal, monastery and city chronicles, with correspondingly different scopes of time structuring and concepts of interaction between space and time. The comparison is structured by the pattern of ancestral and dynastic narratives of origin, dealing with the emergence of the political actors’ identity, as well as by narratives of monastery and city foundation, dealing with objectivations of this identity in the territory of the Wittelsbach dynasty over time. Narratives of origin and foundation reflect the different forms of interdependency of space and time, which are characteristic for the ‘Chronicles of Bavaria’. Therefore, the narratological analysis focuses on this interdependency and seeks to clarify in which way the interdependency between space and time affects questions of (the) narrating instance(s), figure design, narrative perspective and the formation of coherence as well as narrative schemes. Regarding the ‘Chronicles of Bavaria’ as a whole, a central question is whether and to what extent the coordination between space and time begins to shift from a former concept of spatialized history to the two-dimensional concept of “Vorstellungsfläche” (Dünne): Is, similar to itineraries, the commemoration of space still essentially accompanied by a three- dimensional, i.e. experienceable reconstruction of tracks, which the founding figures, guided by divine providence, have successively laid out through creation? Or do, influenced by the cultural technique of “Verflachung” (Krämer), the chronicles give preference to a bird’s eye view, ‘flattening’ the non-simultaneity of simultaneously percepted objects as it can be seen in the map of Germany transmitted for the first time by Hartmann Schedel’s ‘Weltchronik’? Thus a narratological analysis can even produce a memorial ‘diagramming’ of a specific territory, so that the ‘Chronicles of Bavaria’ shift in a position of crucial importance for historical narratology.