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Kleist-Jahrbuch 2006 KLEIST-JAHRBUCH 2006 Im Auftrag des Vorstandes der Heinrich-von-Kleist-Gesellschaft herausgegeben von Günter Blamberger, Ingo Breuer, Sabine Doering und Klaus Müller-Salget VERLAG J. B. METZLER STUTTGART · WEIMAR Anschrift der Redaktion: Dr. Ingo Breuer, c/o Universität zu Köln, Institut für deutsche Sprache und Literatur, Albertus-Magnus-Platz, D–50931 Köln, eMail: [email protected] Mitarbeit: Philipp Klippel und Martin Roussel Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Gedruckt auf chlorfrei gebleichtem, säurefreiem und alterungsbeständigem Papier ISBN-13: 978-3-476-02159-5 ISBN-10: 3-476-02159-9 Dieses Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. © 2006 Verlag J. B. Metzler’sche Verlagsbuchhandlung und Carl Ernst Poeschel Verlag GmbH in Stuttgart www.metzlerverlag.de [email protected] Einbandgestaltung: Willy Löffelhardt Druck und Bindung: Kösel, Krugzell · www.koeselbuch.de Printed in Germany September/2006 INHALT Verleihung des Kleist-Preises 2005 Günter Blamberger: Eine Poetik des Dazwischen. Rede zur Verleihung des Kleist-Preises an Gert Jonke am 20. November 2005 in Berlin ............. 3 Jürgen Flimm: Laudatio anlässlich der Verleihung des Kleist-Preises an Gert Jonke am 20. November 2005 in Berlin .................................................. 9 Gert Jonke: »Blitz triff mich« ................................................................................... 17 Abhandlungen Christian Moser: Die supplementäre Wahrheit des Anekdotischen. Kleists ›Prinz Friedrich von Homburg‹ und die europäische Tradition anekdotischer Geschichtsschreibung ................................................................ 23 Alexander Košenina: Ratlose Schwestern der Marquise von O.... Rätselhafte Schwangerschaften in populären Fallgeschichten – von Pitaval bis Spieß .. 45 Bernd Hamacher: Geschichte und Psychologie der Moderne um 1800 (Schiller, Kleist, Goethe). ›Gegensätzische‹ Überlegungen zum ›Ver- brecher aus Infamie‹ und zu ›Michael Kohlhaas‹ ............................................. 60 Ulrich Johannes Beil: ›Kenosis‹ der idealistischen Ästhetik. Kleists ›Über das Marionettentheater‹ als Schiller-réécriture ......................... 75 Gerhard Oberlin: Der Erzähler als Amateur. Fingiertes Erzählen und Surrealität in Kleists ›Bettelweib von Locarno‹ ............................................... 100 Michael Mandelartz: Von der Tugendlehre zur Lasterschule. Die sogenannte ›Kantkrise‹ und Fichtes ›Wissenschaftslehre‹ ....................... 120 Michael Neumann: »Und sehn, ob uns der Zufall etwas beut«. Kleists Kasuistik der Ermächtigung im Drama ›Die Hermannsschlacht‹ .... 137 Niels Werber: Kleists »Sendung des Dritten Reichs«. Zur Rezeption von Heinrich von Kleists ›Hermannsschlacht‹ im Nationalsozialismus .............. 157 Gerhart Pickerodt: ›Mein Cherubim und Seraph‹. Engelsbilder bei Heinrich von Kleist ................................................................ 171 V Rezensionen Klaus Müller-Salget: Beda Allemanns ›Guiskard‹. Ein dramaturgisches Modell und Ansätze zu einer Theorie der kognitiven Leistung von Literatur (über: Beda Allemann: Heinrich von Kleist. Ein dramaturgisches Modell) ......................................... 191 Siglenverzeichnis ........................................................................................................ 199 Verzeichnis der Mitarbeiterinnen und Mitarbeiter ................................................ 200 Heinrich-von-Kleist-Gesellschaft ............................................................................ 201 VI VERLEIHUNG DES KLEIST-PREISES 2005 GÜNTER BLAMBERGER EINE POETIK DES DAZWISCHEN Rede zur Verleihung des Kleist-Preises an Gert Jonke am 20. November 2005 in Berlin Meine sehr verehrten Damen und Herren, liebe Mitglieder und Freunde der Heinrich-von-Kleist-Gesellschaft, sehr verehrte Frau Ministerin, lieber Herr Flimm, lieber Herr Beil, lieber und heute zu ehrender Herr Jonke, der Kleist-Preis ist der älteste und berühmteste der deutschen Literaturpreise, sein Ruhm verdankt sich vor allem der erstaunlichen Treffsicherheit der Entscheidun- gen und der damit verbundenen Kanonisierung der Preisträger, mit einer Ausnah- me vielleicht, dem Jahr 1926, als die Listenkandidaten Klaus Mann und Marie- Luise Fleißer leer ausgingen und stattdessen Alexander Lernet-Holenia und Alfred Neumann ausgezeichnet wurden, Lernet-Holenia für einen »handfesten«, Schwank namens ›Ollapotrida‹, Neumann für den Roman ›Der Teufel‹ und die darin laut Laudatio manifeste »Schwere und Präzision der denkenden Rede«. Im selben Jahr 1926 kam Josephine Baker nach Berlin, gerade 19 Jahre alt, und verzauberte mit der Leichtigkeit ihres Bananentanzes die Intellektuellen. Max Reinhardt versprach ihr eine Karriere am Deutschen Theater, Harry Graf Kessler schrieb enthusias- miert in sein Tagebuch, dass die Baker in der »Negerrevue« als »Mittelprodukt zwischen Urwald und Wolkenkratzer« »stundenlang, scheinbar ohne Ermüdung, immer neue Figuren erfinde[t] wie im Spiel«, und dann entwarfen Max Reinhardt und Harry Graf Kessler zusammen ein Ballett, in dem Josephine Baker nach der Musik von Richard Strauß eine nackte Tänzerin spielen sollte, die König Salomos Begierde weckt. Das Ganze sollte nebenan auf dem Deutschen Theater in Berlin stattfinden und der Beginn einer großen Schauspielerkarriere der Baker werden. Mit der spielerischen, kindlichen Autonomie der Figuren wäre es dann vorbei und der Körper der Baker als Träger tiefer Bedeutungen nobilitiert gewesen. Man woll- te Josephine Baker also vom Urwald in die gute deutsche Ausdrucks-Stube holen, sie fühlte sich auch geschmeichelt, lehnte das Angebot aber ab und ging nach Paris, um einen Vertrag bei den Folies Bergères anzunehmen. Der Grund: Der Komponist Irving Berlin war bereit, Jazzmusiken für ihre Tänze dort zu schreiben, und so konnte sie wieder tanzen, wie sie es wollte: Figuren, ohne Ausdruck bil- dend. Statt der Tiefe des Sinns die vermeintliche Oberfläche des Sinnlichen. Statt Günter Blamberger der alten deutschen Tiefgründelei die Freude an den selbst nicht sinnhaften Vor- aussetzungen von Sinnproduktion wie z.B. dem Rhythmus und den Figuren eines Tanzes. Was hat die Tänzerin Josephine Baker mit dem Sprachmusiker Gert Jonke zu tun? Zunächst einmal hat er in seiner Experimental-Literatur teil an der alle Künste übergreifenden artistischen Tradition der Avantgarde, die die vorgebliche Schwer- kraft der Bedeutungen aufhebt – in der Verschiebung des Interesses vom Bezeich- neten auf die Zeichenträger. Die Musik befreit sich von der Textualität, in der Malerei verselbstständigen sich Farben und Formen vom Zwang der Vergegen- ständlichung, in der Poesie werden Buchstaben, Silben und Wörter als Material verwendet wie Farben oder Töne. Dieser Blickwechsel der Avantgarden ist altbe- kannt, trotzdem haben sich die Deutschen, was ihren literarischen Geschmack be- trifft, in der Mehrzahl noch immer nicht wirklich darauf eingelassen. Das Publi- kum meine ich, die Experimental-Poeten sind in Deutschland sowieso die Aus- nahme. Anders verhält es sich in Österreich, wenn man an die Wiener Gruppe um Konrad Bayer, Gerhard Rühm, Friedrich Achleitner oder H. C. Artmann denkt, an Ernst Jandl, an Thomas Bernhard, Friederike Mayröcker oder eben an Gert Jonke, die Sprachartisten und Sprachphilosophen gleichermaßen sind, für die Dichtung nicht Darstellung bereits gemachter Erfahrungen, sondern Modus der Erfahrung selbst ist. Notfalls retten sie die Poesie im Unsinn und schaffen Zeichen und Plun- der, während die Mehrzahl des deutschen Publikums – das erklärt auch den Erfolg des Schiller-Jahres – doch Sprichwörtliches bevorzugt, handfeste Sätze, an die man sich halten kann, wie »Die Axt im Hause erspart den Zimmermann« aus dem ›Wilhelm Tell‹, Sätze mit trügerischer Sicherheit eigentlich, die mit äußerster Vor- sicht zu genießen sind, weil ihnen schon so mancher Heimwerker zum Opfer ge- fallen ist. Heute ist Totensonntag, wir befinden uns im Theater, und die Ouvertüre von Gert Jonkes Stück ›Die versunkene Kathedrale‹, die wir eingangs hörten, handelt von der Austauschbarkeit von Gräberstätten und Theatern als zwei potentiellen Zei- chen-Friedhöfen, am Montag ist Kleists Todestag, am Dienstag der Tag der heili- gen Cäcilie, der Schutz-Patronin der Musik, die für einen Sprachmusiker wie Jonke eine Schutzheilige sein könnte, in Kleists Legende ›Die heilige Cäcilie‹ aber vier junge Bilderstürmer durch die Gewalt der Musik ihres Verstandes beraubt, um eine Kathedrale vor dem Versinken zu beschützen. Sonntag, Montag, Dienstag, 20., 21., 22. November: Als Registrationsprinzip garantiert der Kalender eine Ord- nung. Wird aber nach dem Zusammenhang dessen gefragt, was mit seiner Hilfe hier in Ordnung kommt, zu einem vorgeblich geistreichen Sinnzusammenhang geordnet wird, erweist der Kalender sich als Medium des Absurden oder der Anar- chie. Wie andere Regulative: topographische Karten z.B. oder alphabetisch-lexika- lische Verzeichnisse, die unterordnen sollen und doch nur beiordnen, in ihrer Se- mantik das Heterogene gruppieren, nicht das Homogene, in ihrer
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