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Allgemeine Literaturwissenscha ft Methoden der Literaturwissenschaft

Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

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Page 1: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Allgemeine Literaturwissenscha

ftMethoden der Literaturwissenschaft

Page 2: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Aufgaben Durchdringung der Schichten des Textes Klärung der Funktion der

Literaturwissenschaft David Lodge: Small World. New York 1984, S.

26: „Theory?“ Philip Swallow’s ears quivered

under their silvery thatch, a few places further up the table. „That word brings out the Goering in me. When I hear it I reach for my revolver.“„Then you’re not going to like my lecture, Philip,“ said Morris Zapp.

Page 3: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Geschichte der Literaturwissenschaft vor dem 19. Jahrhundert Vorstellungen und Regeln

der antiken Tradition Romantik: Idee von nationaler Kunst als Ausdruck

eines Volkes ab Mitte 19. Jh. Positivismus

Sammeln, Sichten und Einordnen von Fakten Übertragung von naturwiss. Prinzipien auf GKW Suche nach kausalen Gesetzen Taine: race, milieu, moment; Sainte-Beuve: tel

arbre, tel fruit Blütezeit-Theorie von Wilhelm Scherer:

Wellenberge der deutschen Literatur um 1200 und 1800; Zyklentheorien

Biographien, Quellenforschung, Editionen…

Page 4: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Marxistische Literaturwissenschaft Frage nach gesellschaftlicher

Funktion der Literatur Text ist Produkt menschlicher Arbeit spiegelt die bestehenden materiellen

Verhältnisse wider und greift in sie ein

materielle Basis bedingt ideologischen Überbau

Kultur eigene innere Entwicklung

Page 5: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Textimmanente Literaturkritik verneint Einflüsse von außen auf den

Rezipienten Interpretation als

Auseinandersetzung des Subjekts mit dem Werk

Einzigartigkeit des Kunstwerks auf subjektiver Basis erleben

Leser als Tabula rasa

Page 6: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Hermeneutik Einbeziehung der Subjektivität der lesenden

Person und des historischen Horizonts Hermeneutische Spirale (Zirkel) Interpret verfügt über Vorverständnis 1. Lektüre – Projektion eines

Sinnzusammenhanges Überprüfung dieser Hypothesen durch 2. Lektüre

usw. Ergebnisse an „Vorurteile“ des Subjekts gebunden Vorurteile sind Produkt unserer Geschichte

(Gadamer) ständiger Wechsel von Induktion und Deduktion

(ausgestreckter Arm – Nase)

Page 7: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

System oder nicht ? Strukturalismus und Systemtheorie Dichtung als System literarisches Werk = Summe aller stilistischen

Mittel Struktur ist das innere Gefüge des

sprachlichen Textes, Beziehungsnetz von stilistischen Relationen hinter der äußeren Kette (Eiffelturm)

Konstruktivismus leitet aus dem „Gedächtnis der Wörter“ Sinn ab

Fetisch = Fee + Tisch. Dekonstruktivismus: Neues aus der Zerlegung

Page 8: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Semiotik Verknüpfung der Sinneinheiten im Text Modelle der narrativen Organisation Mythen (Cl. Lévi-Strauss) oder Märchen (V.

Propp) Aktantenmodell von A. J. Greimas: Aktant = Träger von Handlungsrollen, erfüllt

bestimmte Funktion, agens oder patiens narrative Organisation nach Handlungsregeln tragische Gefühlskette bei Racine (A liebt B, B

liebt C und C liebt A) Intrigenstruktur einer Dreiecksgeschichte: A

handelt so, dass B verführt und C betrogen wird; B leistet A zuerst Widerstand, wechselt aber Position nach äußerem Einfluss; C rächt sich an B, indem er A beseitigt.

Page 9: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Enthüllung des Sinnes To understand a message is to decode it. Language is a code.

But every decoding is another encoding. If you say something to me I check that I have understood your message by saying it back to you in my own words, that is, different words from the ones you used, for if I repeat your own words exactly you will doubt whether I have really understood you. [...]

Reading, of course, is different from conversation. It is more passive in the sense that we can’t interact with the text, we can’t affect the development of the text by our own words, since the text’s words are already given. That is what perhaps encourages the quest for interpretation. If the words are fixed once and for all, on the page, may not their meaning be fixed also? Not so, because the same axiom, every decoding is another encoding, applies to literary criticism even more stringently than it does to ordinary spoken discourse. [...] The reader plays with himself as the text plays upon him, plays upon his curiosity, desire, as a striptease dancer plays upon her audience’s curiosity and desire. [...]

Page 10: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Enthüllung des Sinnes The classical tradition of striptease, which goes

back to Salome’s dance of the seven veils and beyond, offers a valid metaphor for the activity of reading. The dancer teases the audience, as the text teases its readers, with the promise of an ultimate revelation that is infinitely postponed. Veil after veil, garment after garment, is removed, but it is the delay in the stripping that makes it exciting, not the stripping itself; because no sooner has one secret been revealed than we lose interest in it and crave another. [...] To read is to surrender oneself to an endless displacement of curiosity and desire from one sentence to another, from one action to another, from one level of the text to another. The text unveils itself before us, but never allows itself to be possessed; [...]

Page 11: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Wozu ? „I have just one question,“ said Philip Swallow. „It is

this: what, with the greatest respect, is the point of our discussing your paper if, according to your own theory, we should not be discussing what you actually said at all, but discussing some imperfect memory or subjective interpretation of what you said?“„There is no point,“ said Morris Zapp blithely. „If by point you mean the hope of arriving at some certain truth. But when did you ever discover that in a question-and-discussion session? Be honest, have you ever been to a lecture or seminar at the end of which you could have found two people present who could agree on the simplest précis of what had been said?“„Then what in God’s name is the point of it all?“ cried Philip Swallow, throwing his hands into the air.„The point, of course, is to uphold the institution of academic literary studies. [...]“

Page 12: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Englische Schule eklektisch, romantische Hermeneutik mit moralischen Ideen Philip Swallow was the first to speak. He said the function of

criticism was to assist in the function of literature itself, which Dr. Johnson had famously defined as enabling us better to enjoy life, or better to endure it. The great writers were men and women of exceptional wisdom, insight and understanding. Their novels, plays and poems were inexhaustible reservoirs of values, ideas, images, which, when properly understood and appreciated, allowed us to live more fully, more finely, more intensely. But literary conventions changed, history changed, language changed, and these treasures too easily became locked away in libraries, covered with dust, neglected and forgotten. It was the job of the critic to unlock the drawers, blow away the dust, bring out the treasures into the light of day. Of course, he needed certain specialist skills to do this: a knowledge of history, a knowledge of philology, of generic convention and textual editing. But above all he needed enthusiasm, the love of books. It was by the demonstration of this enthusiasm in action that the critic forged a bridge between the great writers and the general reader.

Page 13: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Französische Schule strukturalistisch Michel Tardieu said that the function of criticism was not to

add new interpretations and appreciations of Hamlet or Le Misanthrope or Madame Bovary or Wuthering Heights to the hundreds that already existed in print or the thousands that had been uttered in classrooms and lecture theatres, but to uncover the fundamental laws that enabled such works to be produced and understood. If literary criticism was supposed to be knowledge, it could not be founded on interpretation, since interpretation was endless, subjective, unverifiable, unfalsifiable. What was permanent, reliable, accessible to scientific study, once we ignored the distracting surface of actual texts, were the deep structural principles and binary oppositions that underlay all texts that had ever been written and that ever would be written: paradigm and syntagm, metaphor and metonymy, mimesis and diegesis, stressed and unstressed, subject and object, culture and nature.

Page 14: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Deutsche Schule idealistisch, textimmanent Siegfried von Turpitz said that, while he

sympathized with the scientific spirit in which his French colleague approached the difficult question of defining the essential function of criticism in both its ontological and teleological aspects, he was obliged to point out that the attempt to derive such a definition from the formal properties of the literary art-object as such was doomed to failure, since such art-objects enjoyed only an as it were virtual existence until they were realized in the mind of a reader. (When he reached the word ’reader’ he thumped the table with his black-gloved fist.)

Page 15: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Italienische Schule marxistisch Fulvia Morgana said that the function of

criticism was to wage undying war on the very concept of ’literature’ itself, which was nothing more than an instrument of bourgeois hegemony, a fetichistic reification of so-called aesthetic values erected and maintained through an elitist educational system in order to conceal the brutal facts of class oppression under industrial capitalism.

Amerikanische Schule: textsemiotisch Morris Zapp said more or less what he had said

at the Rumming conference.

Page 16: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Expressive theories a. have a ‘metaphysical’ conception of the

function of art; they are individualistic (stress originality), anti-rationalistic, anti-imitative, anti-rhetorical; conceive of writing as a creative act; accentuate the primacy of the suggestive, symbolic, image (the use of ‘indirections’); consider the lyrical poem to be the literary norm;

b. emphasize spontaneity and the role of feelings in the creative process;

c. the poet in their view is entirely subjective; he expresses his individual feelings and thereby the essence of life and the universe (poet as prophet); the poem is the result of organic growth.

Page 17: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Objective theories a. share the aspect mentioned sub a. with

expressive theories; b. emphasize conscious, cool workmanship in

writing; strive for clearness; c. consider the poem itself, separated from its

author (‘un objet de consistance propre’ – Valéry) as the potential incorporation of the metaphysical secret; the poem creates its own reality; the poet uses words as raw material, but at a certain stage he surrenders the initiative to the language; the poem has to be clear, but cannot be simple (‘une énigme de cristal’ – Valéry); the poet often is obsessed by the possibilities and limitations of language – numerous poems are centred upon the writing of poetry.

Page 18: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Mimetic theories a. have a practical, worldly, conception of

the function of art; they aspire at an objective representation of reality, at impersonality, stress the typical rather than the individual; are often didactic, moralistic - non-lyrical;

b. to a certain extent they often share b. with expressive theories (no preoccupation by conscious elaborate craftsmanship);

c. show no special concern for genre, for the separation of levels of style, or of subjects.

Page 19: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Pragmatic theories a. / b. share a. with mimetic and b. with

objective conceptions; c. pursue their effects by a consciously

applied rhetoric strategy, orderly and well-defined, often ignoring the social implications – though not the moral aspect – of mimetic theories, and show a particular concern for consistent use of language.

It goes without saying that the four diachronic columns are not without their interrelations. [...] any reasonably adequate theory takes some account of all four elements.

Page 20: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Herbert Seidler Was ist Vergleichende

Literaturwissenschaft ? Vortrag, Akademie der Wissenschaften

1973 Einführung Aktualität, gegenwärtige Lage Fragen Historischer Rückblick Weltliteratur bis zur Romantik ab Romantik patriotische Fixierung auf

Nationalliteratur

Page 21: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Historische Entwicklung Littérature comparée: Einflussforschung bilaterale Bilanzen positivistisch

Comparative Literature: multikulturelle

Gesellschaft der USA Stilvergleiche und

Theorie New Criticism

Deutschland nach 1945:

Bewältigung des Nationalsozialismus

Stoffgeschichte

Osteuropa: Kontakt- und

Wechselbeziehungen typologische Analogien Begriffe ? Gefahren ?

Möglichkeiten ?

Page 22: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Argumentation Begriff: Objekt

Literatur, über eine Sprache hinaus

Literatur eines mehrsprachigen Staates ?

Allgemeine / Vergleichende Literaturwissenschaft ?

Gefahren: Veräußerlichung

oberflächliche Einflussforschung

übertriebene Anforderungen zu großes

Forschungsgebiet ideologische

Vereinnahmung

Page 23: Allgemeine Literaturwissenschaft Methoden der Literaturwissenschaft

Möglichkeiten

Wirkungsforschung gegen

Veräußerlichung auf Epochen

begrenzte Projekte gegen übertriebene

Anforderungen Bedeutung der

Sprache und ihrer Unterschiede gegen

Ideologisierung

Ausblick: Konzentration auf

Homologien der Entwicklung, Epochen, Gattungen usw.

Regionale Spezialitäten Mitteleuropa

Ergänzung und Zusammenführung der einzelnen Philologien