Abstract:Retraction is an essential part of the creative process for Arthurian writers. From the beginning of Arthurian narrative, innovation has led to retraction, then to further innovation, then again to retraction, and so on into the present. Medieval Arthurian writers practiced four forms of retraction and innovation: palinode, re-creation, adaptation, and supplementation. A palinode recants an earlier work, a re-creation presents a new narrative about existing characters, an adaptation alters an existing narrative or one or more of its components, and supplementation adds to an existing narrative or to one or more of its components. These processes function not only across texts by different authors but within texts by a single author. Whereas Augustine and Chaucer offered explanations of their retractions, Arthurian authors offer no explanation for their retractions, requiring readers to supply one for themselves. But like Augustine and Chaucer, Arthurian writers left the existing canon of texts intact with every new retraction and innovation. The ‘both/and’ view of literary composition taken by Arthurian writers has allowed retraction continually to renew and complicate Arthurian story, thereby reminding us of its narratological sophistication even as the legend of Arthur continues to be discovered by new generations of audiences.

中文翻译：

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撤回和亚瑟王文本的制作

摘要：撤回是亚瑟王作家创作过程中必不可少的一部分。从亚瑟王的叙事开始，创新导致了退缩，然后是进一步的创新，然后又是退缩，依此类推，直到现在。中世纪的亚瑟王作家实践了四种形式的回缩和创新：palinode、再创造、适应和补充。一个palinode 撤回早期的作品，重新创作提出了关于现有角色的新叙事，改编改变了现有的叙事或其一个或多个组成部分，而补充则增加了现有的叙事或其一个或多个组成部分。这些过程不仅在不同作者的文本中起作用，而且在单个作者的文本中起作用。而奥古斯丁和乔叟对他们的撤回做出了解释，亚瑟王的作者没有为他们的撤回提供任何解释，要求读者自己提供一个。但像奥古斯丁和乔叟一样，亚瑟王的作家在每次新的撤回和创新时都完好无损地保留了现有的经典文本。亚瑟王作家对文学作品的“两者兼而有之”的观点允许不断撤回更新和复杂化亚瑟王的故事，从而提醒我们它的叙事学的复杂性，即使亚瑟王的传说继续被新一代观众发现。