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Comi(C)Sche Literaturadaptionen Comi(c)sche Literaturadaptionen Textlinguistische Aspekte der ‚graphic novel‘ am Beispiel der „Menschenfabrik“ von Oscar Panizza Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Stephanie GODEC Institut für Sprachwissenschaft Begutachter(in): Univ. Prof. Mag. Dr. Ralf Vollmann Graz, 2013 Ehrenwörtliche Erklärung Ich erkläre hiermit ehrenwörtlich, dass ich die vorliegende Arbeit selbstständig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen nicht verwendet und die den benützten Quellen wörtlich oder inhaltlich entnommenen Stellen als solche kenntlich gemacht habe. Graz, Mai 2013 Danksagung Ich danke Herrn Univ. Prof. Mag. Dr. Ralf Vollmann für seine Betreuung während des Entstehungsprozesses dieser Arbeit. Weiters bedanke ich mich bei meiner Erzeugerfraktion für ihre finanzielle sowie emotionale Unterstützung. Besonderer Dank gebührt meinem Bruder Martin, der immer meine erste Anlaufstelle, speziell bei technischen Problemen war, sowie Rafael, Lisa und Bettina die mich in meinem Vorhaben und Tun immer bestärkt und unterstützt haben. Inhaltsverzeichnis 01. EINLEITUNG ......................................................................................................................... 6 02. HISTORISCHER HINTERGRUND .............................................................................................. 8 02.01. DIE ANFÄNGE 8 02.02. THE YELLOW KID 10 02.03. ABENTEUER -, DETEKTIV - UND SUPERHELDENCOMICS 12 02.04. COMICS CODE 14 02.05. EINFÜHRUNG DES FORMATS : GRAPHIC NOVEL 15 03. LITERATUR UND COMICS .................................................................................................... 18 03.01. DER BEGRIFF DES „L ITERATUR -COMICS “ 18 03.02. DIE URSPRÜNGE DES LITERATUR -COMICS 18 03.03. DIE GESAMTHEIT DER LITERATUR -COMICS 20 03.04. DER COMIC IN DER LITERATUR 25 03.04.01. ANTEIL DES LITERARISCHEN IM COMIC ........................................................................................... 26 03.04.02. ANTEIL DES LITERARISCHEN IN MICHAEL MEIERS LITERATURADAPTION „D IE MENSCHENFABRIK “ ............ 27 03.05. LITERATURWISSENSCHAFTLICHE ANALYSEN 28 03.06. SPRACHWISSENSCHAFTLICHE ANALYSEN 31 03.07. ABGRENZUNG ZU COMICS 33 03.07.01. WAS IST EINE GRAPHIC NOVEL ? ................................................................................................... 33 03.07.02. DAS PROBLEM DES BEGRIFFS ....................................................................................................... 34 03.07.03. GRAPHIC NOVEL VS . COMIC ......................................................................................................... 35 04. COMICS UND TEXT ................................................................................................................ 36 04.01. ORALITÄT UND LITERALITÄT 36 04.02. GRAPHISCHE ERZÄHLSTRATEGIEN 41 04.02.01. DAS PANEL ............................................................................................................................... 41 04.02.02. DAS BILD .................................................................................................................................. 45 04.02.03. SPRACHLICHE ZEICHEN – TEXT ...................................................................................................... 48 04.03. TEXT -BILD -KOMBINATION 60 4 05. EMPIRISCHE VORGEHENSWEISE – MATERIAL UND METHODE.............................................. 65 05.01. HYPOTHESE 1 – WORT -PANEL VERHÄLTNIS 65 05.01.01. METHODE ................................................................................................................................. 65 05.01.02. ANALYSE ................................................................................................................................... 66 05.01.03. RESULTAT ................................................................................................................................. 74 05.02. HYPOTHESE 2 – LESBARKEITSINDEX 75 05.02.01. METHODE ................................................................................................................................. 76 05.02.02. ANALYSE ................................................................................................................................... 77 05.02.03. RESULTAT ................................................................................................................................. 79 06. SCHLUSSFOLGERUNG ......................................................................................................... 80 07. ABBILDUNGSVERZEICHNIS .................................................................................................. 85 08. LITERATURVERZEICHNIS ..................................................................................................... 86 09. ANHANG ............................................................................................................................ 93 09.01. CODE OF THE COMICS MAGAZINE ASSOCIATION OF AMERICA . INC . 93 09.02. EDDIE CAMPBELL 'S (R EVISED ) GRAPHIC NOVEL MANIFESTO 97 5 01. Einleitung Comics haftet seit ihrer Entstehung ein meist zweifelhaftes Image an (vgl. Sanchez- Stockhammer 2012; 55/ siehe auch: Welke 1974; 8f, Pirkl/Richter 1980; 8f, Fröhlich/Kämpf/Ramseier 1983; 6), wie Titel damaliger Publikationen, zum Beispiel Verdummung durch Comics (Anon.; 1956) oder Schmutz und Schund unter der Lupe (Hesse; 1955) bezeugen. Jedoch werden nicht nur die Inhalte der Blasengeschichten kritisiert, sondern auch deren sprachliche Gestaltung, wobei häufig behauptet wird, dass Comicsprache eine schlechte, den Leser verdummende Sprache sei (vgl. Sanchez-Stockhammer 2012; 55). In Verdummung durch Comics heißt es: Von der Sprache ist wirklich nicht mehr übriggeblieben als nur ein paar Aufrufe und Lautnachahmungen und höchstens gelegentlich, wenn es durchaus nicht anders zu schaffen ist, ein Krüppelsatz. (Anon. 1956; 26) Welke (1974) schreibt, dass „die Lektüre von Comics ‚keine verstandesmäßige Leistung‘“ (Sanchez-Stockhammer 2012; 55) des Lesers fordere und schlicht zu simpel sei. Sanchez-Stockhammer (2012; 55) merkt an, dass Comics immer salonfähiger würden und es nun vermehrt Messen, Veranstaltungen und Forschungsbeiträge zu Comics gäbe, allerdings Forschungskongresse, die unterschiedliche Forscher miteinander vernetzen könnten, in Europa äußerst selten stattfänden. Als Ausnahme hierfür wäre das 2009 abgehaltene Kolloquium in Heidelberg mit dem Titel „Die Sprache(n) der Comics“ zu nennen, bei dem Forscher und Wissenschaftler aus unterschiedlichen Disziplinen der Geisteswissenschaft aufeinandertrafen, um ihre Theorien und Hypothesen vorzustellen. Es ist also eine deutliche Zunahme am Interesse an der wissenschaftlichen Auseinandersetzung mit Comics und dem Austausch darüber zu vermerken. Weiters kommt es zu einer begrifflichen Neuorientierung: Die Graphic Novel etabliert sich als eigene, ernst zu nehmende Kunstform, was aus sprachwissenschaftlicher Sicht zu einer Zweiteilung führt (vgl. Sanchez-Stockhammer 2012; 55). Sanchez-Stockhammer (2012) führt dazu aus: Während der neue Terminus graphic novel die Teilmenge der als künstlerisch wertvoll intendierten narrativen Comicwerke in Buchform und mit eher erwachsener Zielgruppe bezeichnet (Bongco 2000: 82), muss der bisherige Terminus Comic zwangsläufig für alle anderen Blasengeschichten herhalten. (Sanchez-Stockhammer 2012; 55) 6 Ob sich diese Annahme der strikten Zweiteilung in Zukunft so weiterentwickeln wird, gilt abzuwarten. Zu Beginn dieser Arbeit wird ein allgemeiner Überblick über den historischen Hintergrund und die Aufarbeitung der bereits vorangegangenen empirischen Arbeiten an Literaturadaptionen von Comics und Graphic Novels gegeben. Dann wird der Versuch unternommen, eine Unterscheidung zwischen Graphic Novels und Comics zu machen, um anschließend auf die graphischen Erzählstrategien (Panels, Sprechblasen etc.) bzw. Oralität und Literalität einzugehen. Darauf folgend sollen zwei Hypothesen verifiziert werden: Als Erstes soll das Verhältnis zwischen dem Panel pro Seite und dem Text pro Seite analysiert werden, wobei durch manuelle Auswertung der prozentuelle Anteil des Textes, der wortwörtlich aus der Originalliteratur übernommen wurde, ausgerechnet wird. Anschließend soll anhand der Auswertung aufgezeigt werden, wie sich die Graphic Novel anhand der proportionalen Zunahme von Bild und Text in die Dramentheorie einordnen lässt, da angenommen wird, dass durch den ausgesprochen hohen Anteil an wortwörtlicher Übernahme aus dem Originaltext, der stark in der Mündlichkeit 1 konzipiert ist, eine große Ähnlichkeit mit dem Aufbau des klassischen Dramas besteht. Zweitens wird anhand des SMOG-Tests der Schwierigkeitsgrad der Lesbarkeit der Graphic Novel berechnet und anhand der SMOG-Text-Skala interpretiert. Es wird angenommen, dass Graphic Novels wegen ihrer Informationsdichte, ihrer langen Satzkonstruktionen über mehrere Panels hinweg und im Fall des hier gewählten exemplarischen Werks Die Menschenfabrik durch die Nähe zum Originaltext eine Abgrenzung zum Comic und eine Nähe zur Literatur zugestanden werden muss. 1 Für weitere Informationen siehe Kapitel 04.01. Oralität und Literalität. 7 02. Historischer Hintergrund Um einen besseren Überblick über den historischen Hintergrund der Graphic Novels gewährleisten zu können, wird zuerst auf die Entstehung und den Entwicklungsprozess der ersten Comics eingegangen und anschließend die Weiterentwicklung von Comics zu Graphic Novels und deren
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