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Doktorarbeit Schwertkunst Moderne Schwertkampf-Trainer als ‚Erben’ alter Meister Vorbilder und Vermittlungspraxen mittelalterlichen europäischen Schwertkampfs in der „Historical European Martial Arts“-Szene in Deutschland. Inaugural-Dissertation zur Erlangung der Doktorwürde der Fakultät für Sprach-, Literatur- und Kulturwissenschaften der Universität Regensburg vorgelegt von Sebastian Keller aus Moosburg a. d. Isar 2017 Regensburg 2017 Gutachter (Betreuer): Prof. Dr. Daniel Drascek Gutachter: Prof. Dr. Gunther Hirschfelder Moderne Schwertkampf-Trainer als ‚Erben’ alter Meister Vorbilder und Vermittlungspraxen mittelalterlichen europäischen Schwertkampfs in der „Historical European Martial Arts“-Szene in Deutschland. Inhalt 1 Die Rückkehr der Schwertmeister? ........................................................................................... 8 1.1 Motivation, Fragestellung und Relevanz ............................................................................... 10 1.2 Methoden, Vorgehensweise und Kritik ................................................................................. 13 1.3 Nomenklatur.......................................................................................................................... 19 1.4 Forschungsgeschichte ........................................................................................................... 21 1.4.1 Nationalstolz in Philologie, Rechts- und Geschichtswissenschaft (1762-1870) 25 1.4.2 Die Kontroverse der Fechter Wassmannsdorff (1821–1906) und Hergsell (1847–1914) zwischen 1870 und 1894 ................................................................................... 31 1.4.3 Sport, Spektakel und Germanistik um 1900 ........................................................... 35 1.4.4 Forschungsstand ab 1935 ......................................................................................... 39 2 Die historischen Vorbilder: Gerichtskämpfe, Sport und ‚ritterliche Kunst’.......................... 49 2.1 Fechtbücher und Fechter (ab 13. Jh.) .................................................................................... 53 2.1.1 Die Gesellschaft Liechtenauers und die Fechtbruderschaften (14.–17. Jh.) .... 56 2.1.2 Die London Company of Maisters of the Science of Defence (16. Jh.) ............. 63 2.1.3 Die Fechtmeister zwischen Katzenritter und Hofamt (16. Jh.) ............................ 70 2.1.4 Die Fechtschulen der Marxbrüder und Federfechter (16. - 17. Jh.) .................... 74 2.1.5 Die universitären Fechtmeister (16.–18. Jh.) ......................................................... 80 2.2 Die erste Renaissance: Romantiker, Patrioten und Exoten (1839 – um 1900) ..................... 83 2.2.1 Das Eglinton Tournament (1839) und andere ‚Mittelalter-Veranstaltungen‘ ..... 84 2.2.2 Bartitsu, Selbstverteidigung und Schaukämpfe (um 1900) ................................. 87 2.3 Hollywoods Fencing Master (ab ca. 1920) und Deutschland bis 1945 .................................. 94 3 Die zweite Renaissance: Western Martial Arts / Historical European Martial Arts ............ (ab den 1980ern - heute) ........................................................................................................... 99 3.1 Ursprünge der Szene und ihrer Trainer ............................................................................... 101 3.1.1 Der organisatorische Rahmen: Kampfsport ......................................................... 105 3.1.2 Die Kampferfahrung: Reenactment / Living History ............................................ 110 3.1.3 Das Lebensgefühl: Mittelalterszene ....................................................................... 113 3.1.4 Die Kreativität: Live Action Role Playing (LARP) ................................................. 118 3 3.2 HEMA: Sport, Kampf(kunst), Handwerk, Traditionspflege .................................................. 120 3.2.1 Die Szene: Entwicklung, Strukturen, Akteure und Aktivitäten ........................... 125 3.2.1.1 Entwicklung der Szene .................................................................................... 126 3.2.1.2 Benennung: Historisches Fechten, WMA, HEMA, … ................................. 127 3.2.1.3 Größe, Zusammensetzung und internationale Verbreitung ....................... 129 3.2.1.4 Aktivitäten: Training, Seminare, Turniere ...................................................... 131 3.2.1.5 Spiritualität und Etikette ................................................................................... 134 3.2.1.6 Strukturen und Zusammenschlüsse .............................................................. 136 3.2.1.7 Kommerzielle Aspekte: HEMA als Branche ................................................. 138 3.2.2 Sachkultur und Disziplinen der Szene ................................................................... 139 3.2.2.1 Sportgeräte, Waffen und waffenlose Disziplinen ......................................... 143 3.2.2.1.1 Schwert und Fechtfeder ............................................................................... 145 3.2.2.1.2 Einhandwaffen ............................................................................................... 150 3.2.2.1.3 Andere Disziplinen ........................................................................................ 154 3.2.2.1.4 Materialien ...................................................................................................... 157 3.2.2.2 (Schutz)ausrüstung .......................................................................................... 159 3.2.2.2.1 Fechtmasken.................................................................................................. 161 3.2.2.2.2 Fechtjacken, Gambesons und Brustschutz............................................... 162 3.2.2.2.3 Handschuhe ................................................................................................... 163 3.2.2.2.4 Weitere Ausrüstung und Bekleidung .......................................................... 164 3.2.3 Konkrete Beispiele: Schwertkampf als Breitensportart, spiritueller Weg und außerhalb der HEMA-Szene ................................................................................... 167 3.2.3.1 Die Sportart ‚Moderne Schwertkunst’ ............................................................ 167 3.2.3.1.1 Vom eklektizistischen System zum Breitensport nach dem Vorbild Karate ......................................................................................................................... 174 3.2.3.1.2 Emanzipation von den Quellen ................................................................... 178 3.2.3.2 Der Verein ‚Lebendige Schwertkunst’ ........................................................... 182 3.2.3.2.1 Berufung zum Schwertkampf ...................................................................... 184 3.2.3.2.2 Die Suche nach hermetischem Wissen ..................................................... 185 3.2.3.3 Außerhalb von HEMA: Battle of Nations, Unified Weapons Master ............ und andere ......................................................................................................... 188 3.3 Die Trainer: Experten, Lehrer, Coaches, Meister ................................................................ 190 3.3.1 Trainer als Forscher: Quellen interpretieren und produzieren ........................... 194 3.3.1.1 Die Trainer als (Amateur-)Wissenschaftler ................................................... 195 3.3.1.2 Die Trainer als Autoren: moderne Fechtbücher ........................................... 198 3.3.2 Trainer als Meister: Vermittlung, Mythen und Symbole ...................................... 244 4 3.3.2.1 Vermittlungs-Modelle und Hierarchien .......................................................... 246 3.3.2.2 Das Schwert als Mythos .................................................................................. 250 3.3.2.3 Der Krieger als Ideal ......................................................................................... 254 3.3.3 Trainer als Kämpfer: Körperlichkeit, Wettkämpfe und Gender .......................... 258 3.3.3.1 Der Körper als Zeichen: Verletzungen und Turniere ................................... 259 3.3.3.2 Der Körper als Identität: Gender und Körperbild ......................................... 266 3.3.4 Trainer als Gestalter: Selbstdarstellung der Gruppen ......................................... 272 3.3.4.1 Internetseiten ..................................................................................................... 272 3.3.4.2 Wappen und Logos .......................................................................................... 275 4 Unschärfen des Schwerts: Invention of Tradition, Paradoxien und die ............................ Martial Arts Studies .................................................................................................................. 276 4.1 Renaissance eines immateriellen europäischen Kulturguts? .............................................. 280 4.2 Die Erben alter Meister? ..................................................................................................... 284 4.3 Die Paradoxien der HEMA ................................................................................................... 286 4.4 HEMA und die Martial Arts Studies ..................................................................................... 289 5 Glossar ....................................................................................................................................... 293 6 Bibliographie
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