{"id":41,"date":"2026-06-19T14:08:02","date_gmt":"2026-06-19T12:08:02","guid":{"rendered":"https:\/\/narratology.de\/?page_id=41"},"modified":"2026-06-24T09:12:28","modified_gmt":"2026-06-24T07:12:28","slug":"narrating-life-c","status":"publish","type":"page","link":"https:\/\/narratology.de\/index.php\/narrating-life-c\/","title":{"rendered":"Narrating Life (C)"},"content":{"rendered":"\n<h5 class=\"wp-block-heading\">C01 (Br\u00fcggen \/ Bonn)<\/h5>\n\n\n\n<h4 class=\"wp-block-heading\">Iridescent Storytelling: The Art of Narrating Characters in Wolfram\u2019s von Eschenbach\u00a0<em>Parzival<\/em><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">The project is dedicated to the literary character, with Wolfram\u2019s von Eschenbach\u00a0<em>Parzival<\/em>\u00a0as an exemplary subject of investigation.\u00a0<em>Parzival<\/em>, a core text in the field of Middle High German courtly romance, shows an extraordinary wealth of literary characters.\u00a0Firstly, the project strives to define a framework for character analysis.\u00a0Secondly, it aims to advance our understanding of a striking steppingstone in the history of (medieval) storytelling by examining the literary depiction of characters and character constellations in a much more comprehensive manner than has been the case to date.\u00a0<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" style=\"margin-top:var(--wp--preset--spacing--50);margin-bottom:var(--wp--preset--spacing--50)\"\/>\n\n\n\n<h5 class=\"wp-block-heading\">C02\u00a0(von Contzen \/ Freiburg)<\/h5>\n\n\n\n<h4 class=\"wp-block-heading\">Character and Movement in Geoffrey Chaucer\u2019s&nbsp;<em>Canterbury Tales<\/em><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">C02 examines how characters \u201cmove\u201d in premodern texts, understanding movement on three levels: physical action, metaphorical movement, and movement of the text. Drawing on embodiment theories from cognitive narrative studies, the project investigates how representations of movement shape readers\u2019 cognitive engagement with characters. C02 analyses premodern characters and their movements and develops a movement-oriented theory of character for premodern literature, focusing on Geoffrey Chaucer\u2019s&nbsp;<em>Canterbury Tales<\/em>, which offers diverse characters and genres ideally suited for comparative study.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" style=\"margin-top:var(--wp--preset--spacing--50);margin-bottom:var(--wp--preset--spacing--50)\"\/>\n\n\n\n<h5 class=\"wp-block-heading\">C03 (Eggert \/ Bochum)<\/h5>\n\n\n\n<h4 class=\"wp-block-heading\">Speaking of Life to\/about the Dead: Character and Subject Constitution in Korean Mourning Ritual Texts of the 16<sup>th<\/sup>\u201318<sup>th<\/sup>&nbsp;Centuries<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Subproject C03 engages with narrativity as essential but often overlooked part of premodern Korean funerary orations (<em>chemun<\/em>), i.e. texts addressing the dead and read out during mourning rituals. Analysis centers around two interrelated sets of questions: one concerning configuration of character and subject constitution; the other concerning the narrative procedures employed, such as fragmentation, lyricisation, and dialogue. The results will be tested against other contemporaneous biographical genres, aiming at a preliminary model of premodern Korean techniques of narrating lives.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" style=\"margin-top:var(--wp--preset--spacing--50);margin-bottom:var(--wp--preset--spacing--50)\"\/>\n\n\n\n<h5 class=\"wp-block-heading\">C04 (Kollatz \/ Heidelberg)<\/h5>\n\n\n\n<h4 class=\"wp-block-heading\">Narrating Careers \u2013 Narrating Society: Narrativity and Intertextuality of Biographical Compendia of the Mamluk Period (1250\u20131517)<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">C04 sets its focus on narrative communication with and about individual biographies in Mamluk biographical compendia. Biographical narratives played a fundamental role in the negotiation and representation of persons\u2019 lives. The thematic scope is defined with relations of strong asymmetrical dependencies like partly temporary military and domestic slavery which shaped the Mamluk society and left reflections in the biographical compendia. The project aims to understand the narrative structure and function of these dependencies, but also of the biographical compendia better.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" style=\"margin-top:var(--wp--preset--spacing--50);margin-bottom:var(--wp--preset--spacing--50)\"\/>\n\n\n\n<h5 class=\"wp-block-heading\">C05 (Rein\u00f6hl \/ Freiburg)<\/h5>\n\n\n\n<h4 class=\"wp-block-heading\">Repetition Big and Small in Eastern Himalayan Oral-Tradition Narratives \u2013 From Overlays to Parallelisms<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">C05 investigates repetition as a central narrative device in the endangered Himalayan oral tradition&nbsp;<em>Igu<\/em>. Igu has, in contrast to many other oral art forms of the region, remained largely uninfluenced by dominant religions or languages. It may therefore preserve more archaic linguistic or stylistic patterns. As an entry point to a narratological analysis of Igu, this project examines repetition from&nbsp;macro-level structures (overlays) involving cyclical temporal resets to&nbsp;micro-level features like synonymy and other parallel-term relations.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>C01 (Br\u00fcggen \/ Bonn) Iridescent Storytelling: The Art of Narrating Characters in Wolfram\u2019s von Eschenbach\u00a0Parzival The project is dedicated to the literary character, with Wolfram\u2019s&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_customify_content_layout":"","_customify_sidebar":"","_customify_page_header_display":"","_customify_disable_header":"","_customify_disable_header_top":"","_customify_disable_header_main":"","_customify_disable_header_bottom":"","_customify_disable_page_title":"","_customify_disable_content_vertical_padding":"","_customify_disable_footer_top":"","_customify_disable_footer_main":"","_customify_disable_footer_bottom":"","_customify_breadcrumb_display":"","_customify_header_transparent_display":"","footnotes":""},"class_list":["post-41","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/narratology.de\/index.php\/wp-json\/wp\/v2\/pages\/41","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/narratology.de\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/narratology.de\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/narratology.de\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/narratology.de\/index.php\/wp-json\/wp\/v2\/comments?post=41"}],"version-history":[{"count":2,"href":"https:\/\/narratology.de\/index.php\/wp-json\/wp\/v2\/pages\/41\/revisions"}],"predecessor-version":[{"id":120,"href":"https:\/\/narratology.de\/index.php\/wp-json\/wp\/v2\/pages\/41\/revisions\/120"}],"wp:attachment":[{"href":"https:\/\/narratology.de\/index.php\/wp-json\/wp\/v2\/media?parent=41"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}