Figurations of Inspiration, Authorization, and Auratization in English Literature

在早期现代英国文学中，这一项目的焦点，神圣化和非神圣化的过程是紧密交织在一起的。到目前为止，他们的相互依赖一直被世俗化的大师叙事所掩盖，根据这种叙事，文学越来越独立于宗教权威。相比之下，该项目将显示出一种持续和同时的双向影响：神圣诗歌利用世俗诗歌中发展起来的程序来获得权威(例如真实的情感表达)，而世俗文学追求的是授权策略，而授权策略只能在它们产生的神圣概念的背景下才能理解。因此，诗性权威既不同于神圣权威，也是神圣权威的一种形式。该研究项目的中心问题是：通过非神圣化(自我)归属对文学创作的授权是以什么方式和在哪些(上下文)文本中发生的？将与研究股的其他项目密切结合，通过从行为学的角度分析具体的比喻来调查这些文学非神圣化的过程。这一观点在实践的文学表现(如祈祷)和文学文本融入其中并受其影响的社会实践(如修辞能力)中都得到了体现。虽然权威和授权集中表明了非神圣化的进程，但这些进程对文本制作的相关性可以通过灵感概念被唤起和谈判的方式来评估。从灵感隐喻到灵感隐喻的发展不应仅仅等同于非神圣化：隐喻是语言可听化的一个重要方面，有助于文学文本的神圣化。该项目的目标将在两个相互关联的领域进行追求：在早期现代诗歌和戏剧中，通过神圣化和非神圣化的相互依存的策略来寻求归属和权威的承担。在诗歌中，这是通过在亵渎缪斯女神的同时祈求神的合作，通过言语行为(诗歌和/或祈祷)的模棱两可，以及通过归因于既被神化又使诗人能够独立于神圣经文的权威的语言的神秘性质而发生的。戏剧同时被概念化，与神圣的服务对立，并从(自我)神圣化的过程中获得其权威。这种双重运动可以在寓言戏剧的道德和政治权威(从中世纪晚期的道德剧到斯图亚特宫廷面具)中看到，在舞台上和舞台上表现的魔法和精神力量的模棱两可的去神圣化角色，以及戏剧中的对话技巧，通过这种技巧，人物成为更高、神圣秩序的不知不觉的喉舌。

In early modern English literature, the focus of this project, processes of sacralization and desacralization are closely intertwined. Their interdependence has hitherto been obscured by a master narrative of secularization, according to which literature increasingly gained independence from religious authority. By contrast, the project will show that there is a constant and simultaneous bi-directional influence: sacred poetry makes use of procedures that were developed in secular poetry in order to gain authority (e.g. the authentic expression of emotion) while secular literature pursues strategies of authorization which can only be understood in the context of the sacred concepts from which they derive. Poetic authority is thus both different from, and a form of, sacred authority. The central question of the research project is: In what manner and in which (con-)texts does the authorization of literary production by de/sacralizing (self-)ascriptions take place? In close connection with the other projects of the research unit, these processes of literary de/sacralization will be investigated by analysing specific figurations in a praxeological perspective. This perspective becomes manifest both in the literary representation of practice (e.g. of prayer) and in the social practise into which literary texts are integrated and which is influenced by them (e.g. by their rhetorical power). While authority and authorization centrally indicate processes of de/sacralization, the relevance of these processes for the production of texts can be assessed by the way in which concepts of inspiration are evoked and negotiated. The development from metaphors of inspiration to inspiration as a metaphor should not be equated with desacralization alone: metaphor is an important aspect of the auratization of language which contributes to the sacralization of literary texts.The aims of the project will be pursued in two interconnected areas: In both early modern poetry and drama, the ascription and assumption of authority are pursued by means of interdependent strategies of sacralization and desacralization. In poetry, this happens e.g. through the invocation of divine cooperation while desacralizing the Muses, through the ambiguity of speech acts (poetry and/as prayer), and through the mystical qualities ascribed to language which is both sacralized and enables the poet to assume authority independent of sacred scripture. Drama is simultaneously conceptualized in opposition to sacred service and derives its authority from processes of (self-)sacralization. This double movement can be seen in the moral and political authority of allegorical theatre (from the late medieval morality play to the Stuart court masque), in the ambiguously de/sacralizing role of magic and spiritual power represented on stage and by the stage, and techniques of dialogue in drama by which the characters become unwitting mouthpieces of a higher, sacred order.