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Das Phantastische Im Drama Heinrich Von Kleists : Eine Ambivalente Sichtweise in Der Ambivalenten Zeit

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Das Phantastische Im Drama Heinrich Von Kleists : Eine Ambivalente Sichtweise in Der Ambivalenten Zeit Das Phantastische im Drama Heinrich von Kleists Eine ambivalente Sichtweise in der ambivalenten Zeit Inaugural-Dissertation zur Erlangung des Grades eines Doktors der Philosophie in der Fakultät für Philologie der RUHR-UNIVERSITÄT BOCHUM vorgelegt von I-Tsun Wan Gedruckt mit der Genehmigung der Fakultät für Philologie der Ruhr-Universität Bochum Referent: Prof. Dr. Benedikt Jeßing Korreferent: Prof. Dr. Armin Schäfer Tag der mündlichen Prüfung: 29. Mai 2017 Ich versichere an Eides statt, dass ich die eingereichte Dissertation selbstständig und oh- neunzulässige fremde Hilfe verfasst, andere als die in ihr angegebene Literatur nicht be- nutzt und dass ich alle ganz oder annähernd übernommenen Textstellen sowie verwendete Grafiken, Tabellen und Auswertungsprogramme kenntlich gemacht habe. Außerdem ver- sichere ich, dass die vorgelegte elektronische mit der schriftlichen Version der Dissertation übereinstimmt und die Abhandlung in dieser oder ähnlicher Form noch nicht anderweitig als Promotionsleistung vorgelegt und bewertet wurde. 1 INHALT Nachwort, welches aus Absicht des Verfassers zu einem Vorwort gemacht worden ist. ......... 3 0. Einleitung ...................................................................................................................... 5 Erster Teil: θεωρία ............................................................................................................... 11 I. Das Phantastische: Eine ambivalente Sichtweise ............................................... 11 II. Der historische Kontext: Eine ambivalente Zeit ............................................... 25 II.1. Die ohnmächtige Vernunft ........................................................................ 27 II.2. Der Tod und der »Geister-Komplex« der Aufklärung ................................ 36 II.3. Die andere Vernunft .................................................................................. 43 III. Fazit: Das Phantastische als ästhetische Sichtweise ........................................... 53 Zweiter Teil: Ecce Homo .................................................................................................... 61 IV. Kleist im Spannungsfeld – Ein Paradigma ........................................................ 61 IV.1. Die erste Mauer: Konvention derer von Kleist .......................................... 63 IV.2. Die zweite Mauer: Ein brauchbarer (Ehe-)Mann ....................................... 70 IV.3. Die dritte Mauer: Selbstimage .................................................................... 83 V. Fazit und Annäherung: Lieber eine Marionette im Theater zu sein ................. 103 Dritter Teil: Interpretation ................................................................................................. 115 VI. Drama ............................................................................................................ 115 VI.1. Die Familie Schroffenstein ................................................................... 115 VI.2. Robert Guiskard .................................................................................. 136 VI.3. Der zerbrochne Krug .......................................................................... 147 VI.4. Amphitryon ......................................................................................... 169 VI.5. Penthesilea ........................................................................................... 195 VI.6. Das Käthchen von Heilbronn .............................................................. 227 VI.7. Die Hermannsschlacht ......................................................................... 245 VI.8. Prinz Friedrich von Homburg .............................................................. 262 VII. Zusammenfassung ..................................................................................................... 283 Lebenslauf ......................................................................................................................... 285 Siglenverzeichnis ............................................................................................................... 286 Bibliographie ..................................................................................................................... 288 (1) Quellenangabe ................................................................................................ 288 (2) Forschungsliteratur ......................................................................................... 290 2 3 Nachwort, welches aus Absicht des Verfassers zu einem Vorwort gemacht worden ist. Kleist hat einst gefragt: »Was wissen Asien, und Afrika und Amerika von unsern Genien?«1 Was er damals nicht ahnen konnte, ist, dass sein Werk auch in Asien gelesen und geliebt wird – zumindest von mir, der in diesem Moment am Nachwort für seine Dissertation über den Dichter arbeitet, welches er hier aber zum Vorwort umfunktioniert hat, um seinen Leser nach der 300-seitigen Lektüre nicht noch mit seinem Geschwätz aufzuhalten resp. zu belästigen. Bei denjenigen, die dieses Nach- bzw. Vorwort nicht überblättern, bedankt sich der Verfasser ganz herzlich für ihr Wohlwollen. Er dankt nicht zuletzt all jenen Lesern, die sich von seinem exotischen Namen, auf dem Umschlag einer Dissertation im Fach Germanistik, nicht im Ge- ringsten gestört fühlen. Nichtsdestoweniger ist der Verfasser, also ich, denjenigen sehr dankbar, die die vorliegende Arbeit stets unterstützt und mich dazu ermutigt haben. Der Dank gilt vor allem meinen Dok- torvätern Herrn Prof. Dr. Gerhard Plumpe und Herrn Prof. Dr. Benedikt Jeßing. Beim Herrn Prof. Dr. Armin Schäfer bedanke ich mich für seine freundliche Kritik. Herrn Prof. Dr. Ralph Köhnen und Herrn PD Dr. Peter Goßens bin ich für Ihre Fragestellungen in der Disputation sehr dankbar. Dank schulde ich dem Deutschen Akademischen Austausch-Dienst (DAAD) für seine vieljährige finanzielle Unterstützung, ohne die ich in Deutschland überhaupt nicht auskommen kann. Ich danke auch Herrn Prof. Dr. Jhy-Wey Shieh für seine großzügige Unter- stützung, die mich aus dem Notfall gerettet hat. Und allen, die mir die Daumen oder irgendei- nen Figer gedrückt haben, bin ich in jedem Fall zu Dank verpflicht. Für alle Fehler, die sich gegebenfalls in der vorliegenden Arbeit vorfinden, bin ich allein ver- antwortlich. Bochum, den 10. Oktober 2016or allem als ... der Entfaltung des jeweiligen Geschichte dient. Dementsprechend ... das Phantastische als ästhetische Sichtweise den An- spruch auf ... Die Frage ist, wer über solche ethos... verfügen kann und will? Was und wie ist in Hinsicht auf... im Kleist zu verstehen? ... Die vorliegende Disserta- tion... Der Verfasser, also der ich, der am Ende der Arbeit noch einen Blick auf den langen Weg zurückwerfe, möchte mich vor allem beim Herrn Prof. Dr. Gerhard Plumpe für seine Betreuung, Ermutigung, ... bedanken. Herrn Prof. Dr. Benedikt 1 Brief an Wilhelmine von Zenge vom 15. August 1801, SWB II, S. 684. 4 5 Einleitung 0. Einleitung Dem Werk von Heinrich von Kleist (1777-1811) ist eigen, dass die Protagonisten – in den Dramen wie auch in den Erzählungen – nicht in der Lage sind, das Geschehen, insbesondere das, was ihnen geschieht, richtig zu beurteilen, und dass sich aus diesem Umstand stets die fatalsten Konsequenzen ergeben, die im krassen Gegensatz stehen zu ihrem eigentlichen An- liegen, nämlich glücklich zu sein. Diesbezüglich fällt auf, dass die Kleist’schen Protagonisten, gleich ob sie sich antik oder modern ausnehmen, mehr oder weniger durch die Aufklärung (im weiteren Sinne) geprägt sind oder die Selbst-Aufklärung anstreben. So versuchen sie, selbst- ständig zu denken, zu handeln und zu sein und sich überhaupt aus der Konvention bzw. dem Gegebenen oder dem diese Konvention Gebenden zu emanzipieren, um sich einen eigenen Spielraum gegen die vorgeschriebene Orientierung zu verschaffen. Trotz ihres Anspruchs auf Autonomie bleiben sie dem Gegebenen oder dem Gebenden gegenüber paradoxerweise stets heteronom. Aber dies lässt sich weniger auf die Konvention zurückführen, sondern ergibt sich vielmehr aus ihrer eigenen Vernunft als Orientierungs- und Handlungsmaßstab. Es geht um eine selbstverschuldete Paradoxie der Vernünftigkeit: Um ihrer selbst willen erhebt die Ver- nunft überall den Anspruch auf ihre totalitäre Gültigkeit, selbst da, wo der Verstand versagt, aber sie vermag nicht immer der Sache beizukommen, geschweige denn gerecht zu werden. Falls die Vernunft durch unverständliche Umstände überfordert und herausgefordert wird, kön- nen die vernünftelden Protagonisten nicht ihre selbst gefasste Orientiertungen erhalten und drif- ten somit wiederum in Unschlüssigkeit, Unvernunft, wenn nicht gar in Wahnsinn ab. Akut wird dies, wenn die Protagonisten z. B. unvermittelt mit einem scheinbar übernatürli- chen Phänomen konfrontiert werden, was eben typisch für Kleist ist. Sein Werk ist reich an Begebenheiten wie Vergöttlichung oder Verteufelung, Auferstehung oder Geisterwanderung, Gottes Urteil oder Gottes Fügung. Dabei sind, was für Kleist ebenso typisch ist, all diese da- hingehenden Behauptungen nur scheinbar bzw. nur im gewissen Augenblick oder nur aus der gewissen Perspektive wirklich, denn die Phänomene nehmen sich per se dergestalt ambivalent aus, dass man sie weder anzunehmen noch abzulehnen vermag. Diese Ambivalenz ist laut Tzvetan Todorov eben das Wesen des »Phantastischen« (Dazu mehr im Kapitel I). Sie führt zudem nicht nur zum Boom der semiologischen Interpretation in der Kleistforschung am An- fang unseres Jahrhunderts, sondern auch unmittelbar
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