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Masterarbeit / Master's Thesis MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master’s Thesis „Das Moor als dialogischer Moment in der Dichtung von Ted Hughes und Seamus Heaney“ verfasst von / submitted by Gabriella Olivia Violette Attems, BA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2016 / Vienna 2016 Studienkennzahl lt. Studienblatt / A 066 870 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Vergleichende Literaturwissenschaft degree programme as it appears on the student record sheet: Betreut von / Supervisor: Univ.-Prof. Dr. Norbert Bachleitner MOORS Are a stage for the performance of heaven Any audience is incidental. Ted Hughes Remains of Elmet It is December in Wicklow: Alders dripping, birches Inheriting the last light, The ash tree cold to look at. Seamus Heaney North Meinen Eltern Dr. Manfred Attems und Chantal Andries, meinem Bruder Dr. Maximilian Attems und meinem Sohn Cian Attems Clendennen gewidmet. Besonderer Dank gebührt Univ.-Prof. Dr. Norbert Bachleitner für die Betreuung dieser Arbeit sowie für die Förderung meiner spezifischen Interessen während des Studiums. Für Ansätze, die mitunter zu dieser Arbeit führten, danke ich Univ.-Prof. Dr. Werner Huber und Univ.- Prof. Dr. Christine Ivanovic. Für Hilfestellungen zu meinem Forschungsgebiet danke ich Doz. Dr. Walter Wagner. Inhalt Liste der verwendeten Siglen.....................................................................................................................1 Einleitung...................................................................................................................................................2 I. Wozu Landschaftsdichtung?...................................................................................................................4 I.1. Einführung in das Thema................................................................................................................4 I.2. Affektion durch die Landschaft.......................................................................................................7 I.3. Die Landschaft lesen.......................................................................................................................9 I.4. Landschaftsverständnis.................................................................................................................12 I.4.1. Das gälische Instrumentar.....................................................................................................13 Landsschaftsdichtung als thematische Konstante......................................................................15 Gälische Naturlyrik....................................................................................................................16 Dinnseanchas.............................................................................................................................19 Der Dichter als Seher.................................................................................................................22 I.4.2. Hughes und Irland.................................................................................................................24 I.5. Natur als Umwelt..........................................................................................................................26 II. Was ist ein Moor?................................................................................................................................29 II.1. Naturgeschichtliches....................................................................................................................29 II.2. Lexikalisches...............................................................................................................................29 III. Das Moor in Ted Hughes' Lyrik.........................................................................................................31 III.1. Die Omnipräsenz des Moores....................................................................................................32 III.1.1. Textbeispiele zum Moor.....................................................................................................32 III.1.2. Zwei Beispiele: „The Horses“ und „Peninnes in April“.....................................................35 „The Horses“..............................................................................................................................35 „Pennines in April“....................................................................................................................37 III.2. Die Kulmination in Remains of Elmet........................................................................................38 III.2.1. Zur Textentstehung.............................................................................................................39 III.2.2. Remains of Elmet, die „Pennine Sequence“.......................................................................40 III.2.3. Landschaft der Veränderung...............................................................................................42 III.2.4. Das Moor............................................................................................................................48 „Moors“......................................................................................................................................49 Licht...........................................................................................................................................53 Flora...........................................................................................................................................57 Fauna..........................................................................................................................................58 III.3. Zusammenfassung......................................................................................................................60 IV. Das Moor in Seamus Heaneys Lyrik..................................................................................................63 IV.1. Eine Poetik des Grabens und der Dunkelheit.............................................................................64 IV.1.1. „Digging“............................................................................................................................64 IV.1.2. „Personal Helicon“..............................................................................................................65 IV.2. Vom Lesen der Landschaft zur Archäologie...............................................................................67 IV.2.1. Von „The Peninsula“ zu „Shoreline“..................................................................................67 IV.2.2. „Bogland“ als archetypische Landschaft............................................................................72 IV.2.3. Moorfunde...........................................................................................................................74 IV.3. Die Moorgedichte.......................................................................................................................77 IV.3.1. Als Zyklus...........................................................................................................................77 IV.3.2. Textstellen zum Moor.........................................................................................................80 IV.3.3. Das linguistische Projekt von North...................................................................................82 IV.3.4. „Kinship“............................................................................................................................84 IV.4. Das Moor nach North.................................................................................................................88 IV.4.1. Postskript zu den Moorgedichten........................................................................................88 IV.4.2. Das Moor als Identitätsmarker............................................................................................89 IV.5. Zusammenfassung......................................................................................................................90 V. Wechselbeziehungen............................................................................................................................91 V.1. Eine Freundschaft........................................................................................................................91 V.2. Heaneys Hughes-Rezeption.........................................................................................................94 V.3. Hughes' Einfluss auf Heaney.......................................................................................................97 V.4. Heaneys Einfluss auf Hughes....................................................................................................100 V.5. Gemeinsame Einflüsse...............................................................................................................102 V.5.1. F. R. Leavis.........................................................................................................................102 V.6. Ein soziologischer Ansatz..........................................................................................................103 V.7. Die Sekundärliteratur zu den Wechselbeziehungen...................................................................105
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