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Von Brutalen Barbaren Und Dekadenten Despoten Sword and Sorcery Als Fantasy Fiction Im Spannungsfeld Von ‚Natur‘ Und ‚Kultur‘

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Von Brutalen Barbaren Und Dekadenten Despoten Sword and Sorcery Als Fantasy Fiction Im Spannungsfeld Von ‚Natur‘ Und ‚Kultur‘ Von brutalen Barbaren und dekadenten Despoten Sword and Sorcery als Fantasy Fiction im Spannungsfeld von ‚Natur‘ und ‚Kultur‘ Inaugural-Dissertation in der Philosophischen Fakultät und Fachbereich Theologie der Friedrich-Alexander-Universität Erlangen-Nürnberg vorgelegt von Christian Schneider aus Roth D 29 Tag der mündlichen Prüfung: 27.11.2015 Dekan: Universitätsprofessor Dr. Rainer Trinczek Erstgutachter: apl. Professor Dr. Dieter Petzold Zweitgutachterin: Universitätsprofessor Dr. Heike Paul Zusammenfassung: Mit sword and sorcery (S&S) steht eine wenig erschlossene Untergattung der fantasy fiction (FF) im Fokus dieser Arbeit. Einleitend wird erläutert, dass es sich bei S&S um einen relevanten Untersuchungsgegenstand handelt, da diese Untergattung nicht nur äußerst populär ist, sondern auch einen relevanten und einflussreichen Teilbereich der inzwischen als Forschungsfeld etablierten FF darstellt. Veranschaulicht wird dies anhand der Darstellung von S&S in einschlägigen Überblickswerken zur FF. In Anlehnung an Brian Atteberys Gattungsmodell wird Tolkiens The Lord of the Rings (LOTR) als zentrales Werk der Gattung ‚FF‘ betrachtet. Zudem wird nachgewiesen, dass, gemäß allgemeinem Konsens, mit Robert E. Howards Conan-Reihe ein ebenso zentrales Werk der Untergattung ‚S&S‘ existiert. Als weitere wichtige Autoren von S&S, die im Fokus dieser Arbeit stehen sollen, werden Fritz Leiber und Samuel R. Delany ausgemacht. Unter Erwähnung zahlreicher bereits vorhandener Studien wird veranschaulicht, dass dem Spannungsfeld von ‚Natur‘ und ‚Kultur‘ innerhalb der FF, bedingt durch deren historische Wurzeln, eine besondere Rolle zukommt. Es existieren zahlreiche Hinweise darauf, dass dieses Spannungsfeld für S&S ebenso wichtig ist, dort jedoch völlig anders thematisiert wird. Die Ambiguität der Begriffe ‚Natur‘ und ‚Kultur‘ erfordert an dieser Stelle eine Begriffsklärung sowie die Formulierung von Leitfragen, deren Bearbeitung in dieser Dissertation im Mittelpunkt steht. Es wird ein Ansatz gewählt, der sich nicht auf ökologische Aspekte beschränkt, sondern auch soziokulturelle, politische und geistesgeschichtliche Dimensionen einschließt. Bevor es zu einer Bearbeitung der Leitfragen kommt, erfolgt in Kapitel 2 eine Auseinandersetzung mit der Definitionsproblematik, der sich jede Arbeit gegenübersieht, die sich mit FF beschäftigt. Unter Einbeziehung der Gattungsgeschichte sowie der Theorien Brian Atteberys und Brian Stablefords werden Definitionen erstellt und Prozesse veranschaulicht (wie etwa hybridization und chimerization), die sich eignen, um die Gattung und ihre Entwicklung zu beschreiben. Im Anschluss erfolgt eine kurze Beschäftigung mit den eingangs aufgestellten Leitfragen in Bezug auf typische FF im Stile Tolkiens. Es wird nachgewiesen, dass diese in der Regel eine ökologische, fortschrittskritische Botschaft enthält. Zudem spielt die Idee einer scala naturae und somit einer ‚natürlichen‘ Ordnung der Dinge, in der jedem Individuum ein vorbestimmter Platz zugewiesen wird, eine wichtige Rolle. Danach folgt eine Übersicht über Wesen und Entstehung der Untergattung ‚S&S‘. Anschließend findet unter Kapitel 3 eine ausführliche Analyse der S&S-Texte Howards, Leibers und Delanys statt. Hierbei stellt sich heraus, dass Howards Erzählungen von Zivilisationskritik geprägt sind und sich an solchen Theorien orientieren, die Darwins Evolutionslehre auf menschliche Gesellschaften zu übertragen suchen. Howards Texte zeugen von einer liberalen Grundhaltung, die jedoch bisweilen im Widerspruch zu bestimmten rassistischen Tendenzen steht. Leiber und Delany greifen das von Howard aufgestellte Grundmuster auf, unterziehen es jedoch einer Parodisierung und Subversion. Letztere ist bei Delany noch wesentlich stärker aus geprägt als bei Leiber. Trotz dieser Subversionserscheinungen ist den Werken aller drei Autoren eine pessimistisch-nihilistische, existentialistisch angehauchte Grundhaltung gemein, die dafür sorgt, dass S&S weniger klare Botschaften als typische FF enthält. Eine Ausnahme stellt hier Delany dar, dessen Werk einen klaren, sozialkritischen Bezug zur amerikanischen Gesellschaft und deren Umgang mit Frauen und Afroamerikanern aufweist. Bei keinem der untersuchten S&S-Autoren spielt eine scala naturae eine Rolle, wie sie für FF im Stile Tolkiens typisch ist. Vielmehr wird die persönliche Freiheit des Einzelnen als höchstes Gut erachtet, was in einer abschließenden Betrachtung in Kapitel 4 positiv bewertet wird. Das Beispiel Delanys zeigt zudem, dass S&S eine äußerst vielschichtige und für neue Entwicklungen offene Untergattung ist, die sich auch für moderne Forschungsansätze aus dem Bereich der gender studies oder African American studies eignet. Inhalt 1. Einleitung 1.1 Eine anrüchige Gattung? … … … … … 7 1.2 Studien zu sword and sorcery … … … … … 9 1.3 Zum Verhältnis von sword and sorcery zu fantasy fiction … … … 11 1.4 Das Spannungsfeld von ‚Natur‘ und ‚Kultur‘ … … … … 20 1.5 Zur Textauswahl … … … … … 25 2. Sword and sorcery als Untergattung der fantasy fiction 2.1 Fantasy fiction: Die Definitionsproblematik … … … … 29 2.2 Die historische Entwicklung der fantasy fiction … … … … 34 2.3 Fantasy fiction im Zeichen des Spannungsfeldes von ‚Natur‘ und ‚Kultur‘ 2.3.1 Auseinandersetzung mit den Begriffen ‚Natur‘ und ‚Kultur‘ … … 45 2.3.2 ‚Natur‘ und ‚Kultur‘ in der Literatur … … … … … 47 2.3.3 ‚Natur‘ und ‚Kultur‘ in der fantasy fiction … … … … 53 2.4 Sword and sorcery: Wesen und historische Entwicklung 2.4.1 Robert E. Howards sword and sorcery als hybride fantasy fiction … 65 2.4.2 Howards Epigonen und die Formel von sword and sorcery … … 87 2.4.3 Fritz Leiber … … … … … 92 2.4.4 Samuel R. Delany … … … … … 95 2.4.5 Weitere Autorinnen und Autoren … … … … … 102 3. Die Weltentwürfe in den Erzählungen von Howard, Leiber und Delany 3.1. Gesellschaftliche Strukturen und politische Ideologien 3.1.1 Robert E. Howard 3.1.1.1 Weltbild und Geschichtsverständnis … … … … 109 3.1.1.2 ‚Barbarei‘, ‚Zivilisation‘ und die perfekte Gesellschaft … … 113 3.1.1.3 Politische Ideologien in Howards Werk … … … … 122 3.1.2 Fritz Leiber 3.1.2.1 ‚Barbarei‘ und ‚Zivilisation‘ bei Fritz Leiber … … … 128 3.1.2.2 Gesellschaft und Politik in Leibers Erzählungen … … … 132 3.1.2.3 Die Rolle von Ironie und Parodie … … … … … 134 3.1.3 Samuel R. Delany … … … … … 137 6 3.2 Weltanschauung und Ethik 3.2.1 Robert E. Howard 3.2.1.1 Das Recht des Stärkeren: Howard und die Evolutionslehre … … 140 3.2.1.2 Robert E. Howard und das Christentum … … … … 149 3.2.1.3 Reinkarnation und Okkultismus … … … … … 155 3.2.1.4 Dominierende Religionen in Howards Welten … … … 160 3.2.1.5 Howard und der Existentialismus … … … … … 164 3.2.1.6 Das resultierende Wertesystem … … … … … 168 3.2.2 Fritz Leiber 3.2.2.1 Einflüsse der Evolutionslehre … … … … … 171 3.2.2.2 Leibers Helden und die Moral … … … … … 172 3.2.2.3 Religion in Leibers Werken … … … … … 173 3.2.2.4 Das resultierende Wertesystem … … … … … 176 3.2.3 Samuel R. Delany 3.2.3.1 Delanys Protagonisten und die Moral … … … … 178 3.2.3.2 Religion in Delanys Nevèrÿon-Reihe … … … … 180 3.2.3.3 Das resultierende Wertesystem … … … … … 182 3.3 Gender und race 3.3.1 Robert E. Howard … … … … … 183 3.3.2 Fritz Leiber … … … … … 189 3.3.3 Samuel R. Delany … … … … … 193 3.4. Die ökologische Perspektive 3.4.1 Robert E. Howard … … … … … 203 3.4.2 Fritz Leiber … … … … … 207 3.4.3 Samuel R. Delany … … … … … 209 4. Fazit und abschließende Überlegungen … … … … … 211 7 1. Einleitung 1.1 Eine anrüchige Gattung? Die Gattung der fantasy fiction hatte es nie einfach. Seit ihren Kindertagen als eskapistisch belächelt und vom literarischen Establishment weitgehend ignoriert, bedurfte sie des enormen Erfolges von J. R. R. Tolkiens The Lord of the Rings, sowie eines grundlegenden Paradigmenwechsels innerhalb der Literaturwissenschaft, um von dieser als Forschungsgegenstand wahrgenommen zu werden. Bis dato hatte man sich nahezu ausschließlich mit sogenannter ‚Hochliteratur‘ beschäftigt, die bestimmten ‚realistischen‘ Konventionen folgt – „conventions that […] were generally used as defining criteria for great or serious fiction“ (Attebery VII) – und jegliche Literatur, die diesen Konventionen zuwiderläuft, entsprechend abgewertet. Erst das Aufkeimen neuer literaturtheoretischer Denkweisen und die damit verbundene Änderung im Selbstverständnis der Literaturwissenschaft, die nun auf neue Wertungskriterien zurückgriff, weckten das Interesse der akademischen Welt an der fantasy fiction (ebenso wie an anderen einstmals marginalisierten Formen der Literatur). Die immense Popularität von Tolkiens magnum opus, das zu einer Zeit erschien, als diese Umwälzungen gerade ihren Anfang nahmen, rückte das Werk in den Mittelpunkt der Untersuchungen. Als Ergebnis liegt uns heute eine Unmenge (mehr oder weniger) akademischer Fachliteratur vor, die alle Aspekte von Tolkiens Leben und Werk zu beleuchten sucht. Zu dieser gesellen sich in jüngster Zeit wissenschaftliche Arbeiten zu weiteren Texten der fantasy fiction, die großen Einfluss auf die Populärkultur ausgeübt haben, wie etwa C. S. Lewis’ The Chronicles of Narnia, J.K. Rowlings Harry Potter oder auch Stephenie Meyers Twilight-Reihe. Betrachtet man die steigende Akzeptanz der Gattung fantasy fiction (FF) als seriösen Untersuchungsgegenstand, so ist es umso überraschender, dass über gewisse Werke, ja eine ganze Untergattung, abseits der genannten Beispiele seitens der Forschung nahezu komplett hinweggesehen wurde. Hierbei handelt es sich um die als sword and sorcery bekannte Literatur, die ihren Ursprung in der pulp fiction der 20er und 30er Jahre
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