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Diplomarbeit View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „Die Fee – Metamorphosen einer Figur. Prozesse narrativen Gestaltwandels an ausgewählten Beispielen vom Mittelalter bis zur Gegenwart.“ Verfasserin Gabriele Sammer angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, im Juni 2012 Studienkennzahl lt. Studienblatt: A 332 Studienrichtung lt. Studienblatt: Diplomstudium Deutsche Philologie Betreuer: Univ.-Prof. Dr. Roland Innerhofer 2 Für meine Eltern, für immer in Liebe und Dankbarkeit sowie für meine Großeltern. Für unerschöpfliche Liebe und Geduld danke ich S. 3 4 INHALTSVERZEICHNIS 1. Einleitung .............................................................................................................................. 7 2. Überlegungen zur Theorie und Begriffsbestimmung ..................................................... 15 2.1. Omnipräsenz einer Heterogenität .................................................................................. 15 2.2. De Figura – Konzeption und Definition ........................................................................ 19 2.3. Plastizität, Performativität und Dynamik: Bewegte Figur – Figur in Bewegung ......... 27 2.4. Figur als Szene der Verwandlung – Metamorphose ..................................................... 29 3. Basistypus Fee – eine Spurensuche ................................................................................... 36 3.1. Mythologische Spuren und polymorphe Variationsbreiten........................................... 37 3.2. Signifikante Typen und narrative Ausprägungen .......................................................... 43 3.2.1. Feen: Konstante des Unbekannten und ihre Anverwandlung ................................ 44 3.2.2. Das Konzept der Paten-Feen: Verkörperung der Vernunft, Güte und Allmacht ... 47 3.2.3. Das Konzept der Feen-Geliebten: Verlockung und Entrückung ............................ 53 3.3. Entwicklung eines Basistypus ‚Fee feminine„ .............................................................. 56 3.4. Der Fee – (k)eine lexikalische und narrative Leerstelle ................................................ 59 Zwischenbilanz ..................................................................................................................... 64 4. Inszenierung narrativer Metamorphosen am Basistypus ‚Fee‘ ..................................... 66 4.1. Exkurs: Der Raum des Liminalen ................................................................................. 67 4.1.1. Zwischen zwei Welten: Verortung im Narrativen ................................................. 69 4.1.2. Situierung von Schwellenorten nach Walter Benjamin ......................................... 70 4.2. Junckfraw, merfeÿ und fremde geschoeff – Liminalität und Metamorphose in der Melusine des Thüring von Ringoltingen (1456) ........................................................... 73 4.2.1. Die ‚historia„ – ein Schwellen-Text ....................................................................... 73 4.2.1.1. Aneignung und expergentz .............................................................................. 75 4.2.1.2. Aus Metamorphose ein Text: Anverwandlungen ............................................ 78 4.2.2. Der Kern der materÿ: Melusine als Schwellenfigur ............................................... 81 4.2.3. Begegnungen und Metamorphosen entlang liminaler Räume ............................... 89 4.2.3.1. Erste Begegnung mit Melusine – erste Schwellenräume ................................ 90 4.2.3.2. Locus conclusus – Das Bad: privater Blick und erste Metamorphose ............ 97 4.2.3.3. Träger der Umbruchphase: Der Bote ............................................................ 104 4.2.3.4. Der Fenstersims als Schwelle: Sprung und zweite Metamorphose ............... 107 4.2.3.5. Bedeutung von Metamorphose und (Aus-)Blick........................................... 113 5 4.3. Der Feen-Ritter im Vergleich: Liminalität und Metamorphosen im Yonec der Marie de France (ca. 1160-1170) ................................................................................ 115 4.3.1. Parallelbezüge und konzeptuelle Gegensätze ...................................................... 115 4.3.2. Locus conclusus – Locus secretus: Metamorphosen im Turm ............................ 118 4.3.2.1. Locus conclusus – Isolierung und Überwindung .......................................... 120 4.3.2.2. Blick und Bewegung: Metamorphose in progress ........................................ 122 4.3.2.3. Locus secretus als fragiler Raum erotischer Wunscherfüllung ..................... 124 4.3.3. Das Fenster als Ort der Grenzziehungen: Freiheit und Tod ................................. 126 4.3.4. Substitutionsgestalt und Schwellenwesen: Feen-Geliebter .................................. 130 4.4. Trans-Formationen und Wandlung eines Narrativs ‚Fee„ ........................................... 132 4.4.1. Erste Auflösung im Elementaren und Belebtheit der Materie ............................. 135 4.4.2. Zauber des Immateriellen: la fée électricité (Die Stromfee) ................................ 139 4.4.2.1. Allgegenwärtigkeit des reinen, körperlosen Strömens: Die gute Fee des Lichts ............................................................................................................ 140 4.4.2.2. Umschlag einer Kippfigur: Allmacht, Kälte und leblose Starre ................... 144 4.5. Vom Scheitern der Feen – Remythisierung, Techno-Kritik und Menschwerdung. Metamorphosen in der Gegenwarts-literatur: Frischmuths Sternwieser-Trilogie ...... 146 4.5.1. Schwundspuren im historischen Überblick .......................................................... 147 4.5.2. Feen-Konzeption zwischen Alltagswelt und weiblicher Identitätsfindung .......... 149 4.5.3. Re-Mythisierung versus Vermenschlichung: instabiler Erinnerungsraum einer Magna Mater ........................................................................................................ 151 4.5.4. farewell und Techno-Kritik .................................................................................. 155 4.5.5. Finale Metamorphose – Auflösung im Menschen ............................................... 157 5. Schlussbetrachtung .......................................................................................................... 160 6. Literaturverzeichnis ......................................................................................................... 169 6.1. Primärliteratur ............................................................................................................. 169 6.2. Sekundärliteratur ......................................................................................................... 170 Anhang .................................................................................................................................. 179 Abstract .............................................................................................................................. 179 Lebenslauf .......................................................................................................................... 180 6 1. Einleitung Die Fee ist eine imaginäre „Figur“, die sich über die Mythologie, die Folklore und die Literatur facettenreich ausbildet. So begegnen uns Figuren mit dem Begriff der Fee als erotische Geliebte in Menschengestalt, helfend oder heilend, bestrafend oder Wünsche erfüllend im Märchengenre, als weibliche Naturwesen oder in Miniaturausgabe und mit Insektenflügeln ausgestattet. Über diese Gebiete hinaus kann ihre Figur sich auch außerhalb des Literarischen etablieren, in visuellen Medien, virtuellen Realitäten und kommerziellen Medienträgern. Wie alle Gestalten aus der Phantasie des Menschen spiegelt sie wider, was sich an Wünschen und Sehnsüchten, Träumen und Ängsten, Wunder- und Aberglauben in ihm manifestiert; dementsprechend wandelbar sind auch ihr Wesen und die ihr zugedachten Attribute. Der Drang, bestimmte Vorstellungen zu übernatürlichen Wesen auszubilden, ist tief im Menschen verwurzelt: „It appears that human mind cannot bear very much blankness – where we do not know, we invent, and what we invent reflects our fear of what we do not know. Fairies are born of that fear.“1 Die Furcht vor dem Unbekannten und zugleich das Bedürfnis, diese Leerstellen zu besetzen, sind der menschlichen Denkweise inhärent. Solche Stellen des Unbekannten finden ihre literarische Entsprechung im narrativen Raum durch Feenfiguren, die als eine ‚Konstante des Unbekannten„ Wunschvorstellungen, Sehnsüchte und Ängste markieren. Sie verweisen in ihren Veränderungen und Realitäten auf die jeweiligen Gegebenheiten der Zeit ihrer Entstehung. So fungiert die Fee als Figur, die zwischen Traumbild, Möglichkeitsbild und Wirklichkeit oszilliert und entsprechend vor ihrem jeweiligen Zeithorizont immer wieder neu inszeniert wird. Diese narrativen Inszenierungen werden den Ausgangspunkt der folgenden Analyse bilden. Gekoppelt ist dies an die Fragestellung, wie sich dieser Prozess entwickelt, wenn sich in der Figur der Fee die Frage nach dem Unbekannten und Unerklärlichen verbindet. Die Bedeutungsdimension der Fee und die Ästhetik der Figur entziehen sich einer einfachen Beschreibbarkeit, ebenso wie die Figur selbst sich einer eindeutigen Festlegung sperrt. Dadurch ist das Wesen der Feen, wenngleich vermeintlich einfach zu erfassen, in ihrem Facettenreichtum schwer greifbar. Der Reiz der Feen-Figur liegt besonders
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