Where exactly are we when we are going to the airport: are we still at home or already travelling afar? Does spatial distance from home, or from persons we feel closely attached to, decrease or actually increase the intensity of our social ties? If essayist Alain de Botton 1 or sociologists of globalized intimacy like Ulrich Beck and Elisabeth Beck-Gernsheim 2 could have posed these questions to medieval writers concerning the experience of travelling, they might have replied with a paradox of proximity. In 1127, Hugh of St Victor advised those who seek proficiency in their studies to expand their home country to such an extent that it becomes a place of exile: delicatus ille est adhuc cui patria dulcis est; fortis autem iam, cui omne solum patria est; perfectus vero, cui mundus totus exsilium est. ille mundo amorem fixit, iste sparsit, hic exstinxit. 3 (Someone who finds his home country sweet, is still tender ; someone who regards every country his home, is already strong. To the truly perfect one, however, the whole world is a place of exile. The tender has attached his love to a certain spot in the world, the strong has dispersed it, the perfect has extinguished it.
Kunst der lntimitat Zur Produktion von Nahe und Ferne in mittelalterlicher Literatur Von BENT GEBERT (Konstanz) Der Beitrag untersucht Formen paradoxer Kommunikation, die Nahe durch Projektion von Distanz verstarken-. Drei Beispiele mittelalterlicher Literatur demonstrieren, wie diese Raumpraktiken hofische (Rudolf von Fenis), monastische (Walahfrid) und urbane Intimitatsentwiirfe (Dante) verbinden. Jenseits einer Motivgeschichte der Fernliebe lassen solche Faile eine paradoxe Kunst sozialer Verraumlichung erkennen, welche die Kommunikation von Intimitat bis zur Gegenwart aktualisiert.
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