Auswahl der wissenschaftlichen Literatur zum Thema „Knight-errants“

In The White Company (1891) and Sir Nigel (1906), Arthur Conan Doyle reconstructed the fourteenth century and explored the culture and visions of chivalry. He created many different knights with the intention of dissecting the mind and conduct of this historical type. He was concerned with his human as well as his romantic aspect, and he addressed the conflicts the divergent obligations of external duty and personal aspirations caused. Doyle’s reflections focused on the dreadful and illusory game played by knights like Sir Nigel Loring, the most curious and significant representative of idealistic and delusional chivalry in his medieval fiction. His youth and adult age show the tensions between the two worlds whose paths he must tread. His life is a long struggle for virtue and honour, oscillating between the responsibilities of a nobleman in the days of Edward III and the Hundred Years War and the pursuit of chivalry.

Ressusciter l’héroïsme en réécrivant des épopées aux temps modernes, telle est l’idée commune à l’auteur de la trilogie des Mousquetaires et à Jin Yong, romancier d’arts martiaux souvent appelé « l’Alexandre Dumas chinois ». Mais qu’est-ce qu’un héros ? Chacun des deux écrivains explore à sa manière ce thème majeur de la littérature d’aventures chevaleresques à travers les portraits des grandes figures dans son œuvre, que nous abordons dans notre étude comparative sous trois aspects qui se déroulent comme sur une échelle des plans au cinéma : le parcours évolutif du héros, les relations affectives qui marquent sa personnalité et les traits saillants de son tempérament. Constamment en rapport de forces avec le pouvoir en place souvent représenté par l’autorité paternelle, les mousquetaires dumasiens et les chevaliers errants chez Jin Yong se transforment progressivement en grands transgresseurs qui se débattent contre la fatalité de la caste à laquelle ils appartiennent afin d’agir en liberté dans un monde cherchant à les dompter. Ce fil épique est entouré, à l’instar du bâton d’un thyrse, du fil sentimental. Deux discours de l’amour anticonformistes se construisent, se contrastent et finalement se répondent dans une réalité beaucoup moins rose que l’image codifiée de l’idylle, cédant la place à l’amitié virile, née dans une camaraderie chaleureuse ou des moments d’intensité, idéalisée ou revêtant d’une certaine ambiguïté, et magnifiée dans tous les deux univers romanesques comme une valeur suprême sans forcément être sainte. Le grand écart entre nos héros et le profil d’un chevalier sans peur et sans reproche se fait sentir davantage lorsque l’on les examine de plus près à l’aune du niveau culturel, de la moralité et de la motivation de leurs actes. Très humains en partageant des défauts, des banalités et des limites, ils n’étonnent pas moins par de hautes qualités primitives, sans exclure un accent comique. L’héroïsme est revalorisé dans la continuité et la rupture avec les traditions, dans l’unisson et le choc entre Occident et Orient
Reviving heroism by writing modern epics is a shared authorial intention on the part of the author of the Musketeers trilogy and Jin Yong, a writer of martial arts and chivalry novels often called “China’s Alexandre Dumas”. But what is a hero? These two novelists respectively explore this major theme in chivalric literature through their portrayal of important characters in their works. This comparative study, drawing upon the zooming technique in cinematography, explores these three topics: the heroes’ bildung, the affective relationships that influence their character formation, and the salient features of their personalities. In their constant struggles against the established authorities, especially paternal authorities, the Dumasian musketeers and Jin Yong’s knight-errants gradually transform into great transgressors who struggle to break free from the restraints of the social class to which they belong in order to act freely in a world seeking to tame them. This epic theme is entangled, like Dionysus’s scepter, with the intricacies of affective relationships. Two non-conformist discourses of love are constructed, contrasted and eventually pitted against each other in a reality much less rosy than the codified idyll, as they inevitably give way to the notion of brotherhood, which, either idealized or obfuscated, is celebrated and glorified even with its fallibities. The wide gap between the hero characters and the ideal image of a fearless and infallible knight is all the more visible when we examine them more closely in terms of their book knowledge, moral awareness and behavioral motivation. They are portrayed as ordinary human beings characterized by faults, banalities and limitations, while they are also given a sense of noble savageness and a touch of comic lightheartedness. Heroism is recalibrated in these novel’s conformity to and departure from traditions, and in the context of the harmony and clash between West and East

碩士
淡江大學
中國文學系碩士班
95
This essay permeated “the primal knight-errants” (it means the original characters of knight-errants in china ) to survey the stretch and the inauguration for the knight-errants in Hua-Ben Novels of Ming and CHing dynasties China . For the past, when the scholars faced with this purpose , they generally got the conclusion that the knight-errants in Hua-Ben Novels are always full of the characters of disinterestedness , do not enjoy woman''s charms and like to help friends or strangers by the definitions they made. But from the observation of this essay, we can discover there are many knight-errants in Hua-Ben Novels still own the characters of “the primal knight-errants” , like as bully, to be the a thief or to gang together for illegal activities. Even though the knight-errants in Hua-Ben Novels assimilate the characters of “the primal knight-errants”; but on the other side, they also have the brand-new inaugurations. According to the gender and the specialty, this essay categorizes the knight-errants in Hua-Ben Novels for four types: male knight-errants, female knight-errants, sword knight-errants and burglarious knight-errants. This essay will discuss those types of the knight-errants in Hua-Ben Novels particularly and roundly to reveal the inaugurations from “the primal knight-errants”. The purposes of this essay is trying to clean away the intolerant studies of the knight-errants in Hua-Ben Novels that the previous scholars’ misapprehensions, and trying to sketch the contours of parti-colored characters of the knight-errants in Hua-Ben Novels. One of the anticipations of this essay is making up for the construction of the literature or culture of the knight-errants.