Textphilologie – Kommentar – Usability. Eine philologische Bilanz zum Übergang von der Buchedition zur digitalen Edition
Von Christian von Zimmermann (Bern)

Abstract:
Seit Jahrhunderten haben Philologie und Buchdruck eine feste Verbindung gepflegt, so dass die Editionsphilologie im eigentlichen Sinn eine Kunde der Herstellung von Bucheditionen geworden ist, welche auf bewährte Herstellungsprozesse, Layoutkonzepte und Nutzungsroutinen zurückgreifen konnte. Die Digitalisierung der Geisteswissenschaften fand gleichwohl in der Editionsphilologie einen ihrer zentralen Bereiche. Mit dem Versprechen breiter Verfügbarkeit, eines unbeschränkten Raumes und neuer philologischer Konzepte sollte die mediale Revolution den Ersatz der gedruckten Edition durch bessere digitale Optionen erbringen. Der vorliegende Beitrag möchte mit einem kritischen Blick auf die Entwicklung von der Buchedition zur digitalen Edition an die Utopien des An¬fangs erinnern. Er macht in drei Bereichen Entwicklungsdesiderate aus: im Bereich der Textphilologie und des Kommentars sowie in der Usability der Webprojekte. Damit die künftige Entwicklung digitaler Editionen diese Bereiche stärker akzentuiert ist insbeson¬dere die kritische Begleitung des Prozesses durch Philologie, Hermeneutik, Design und Pädagogik notwendig.

For centuries, philology and book printing have maintained a close connection, so that scholarly editing in the true sense of the word has become associated with the produc¬tion of book editions, which can fall back on proven production processes, layout con¬cepts and usage routines. The digitization of the humanities nevertheless found one of its central areas in the field of scholarly editions. With the promise of broad availability, unlimited space and new philological concepts, the media revolution was intended to replace the printed edition with better digital options. This article takes a critical look at the development from the book edition to the digital edition as a reminder of the utopias of the beginning. It identifies development desiderata in three areas: in the field of text philology and commentary as well as in the usability of web projects. To ensure that the future development of digital editions emphasizes these areas more strongly, the process needs to be critically monitored by philology, hermeneutics, design and pedagogy.

Keywords:
Editionsphilologie, Digitale Edition, Textphilologie, Kommentar, Buch
scholarly editing, digital scholarly editions, text philology, commentary, book

Der Heimatwestern, oder: der Chronotopos par excellence des Neuen Deutschen Genrefilms?
Von Peter Scheinpflug (Mannheim)

Abstract:
Der Beitrag analysiert deutsche Kino- und Fernseh-Filme seit 2010, die als ‚Heimatwestern‘ klassifiziert worden sind, da sie die Konventionen des deutschen Heimatfilms mit denen des Westerns hybridisieren. Diese Filme wie ‚Die andere Heimat‘ (2013), ‚Das finstere Tal‘ (2014) oder ‚Die Büffel sind los‘ (2016) lassen sich als ein Chronotopos fassen, der im Anschluss an die Forschung von Michail M. Bachtin und Vivian Sobchack eingehend hinsichtlich seiner Zeit- und Raumstrukturen sowie seines ‚Menschenbildes‘ analysiert wird. Obwohl die Filme zunächst sehr unterschiedlich erscheinen mögen, konstituieren sie einen erstaunlich homogenen Chronotopos. Dieser Befund wird zum einen genretheoretisch und zum anderen im Kontext des Neuen Deutschen Genrefilms diskutiert, wobei es sich um eine Gruppe (vorrangig junger) Filmemacher*innen handelt, die die Genrefilmproduktion und das kollektive Genrebewusstsein in Deutschland fördern wollen. Zum Abschluss fragt der Beitrag danach, ob der Chronotopos Heimatwestern als Verhandlung eines ‚realen‘ Chronotopos der deutschen Gegenwartsgesellschaft gelesen werden kann.

In recent years, a considerable number of German genre films have been labelled ‘Hei-matwestern’ because of their hybridization of two well-known national genres: the US-American western und the German Heimatfilm. Based on Michael M. Bachtin’s and Vivian Sobchack’s research on genre and the chronotopos, the essay analyses the Heimatwestern as a chronotopos consisting of very specific spatial, temporal and social relations. The Heimatwestern is important for understanding the agenda of the New German Genre Film, a movement of (mostly young) directors promoting genre cinema in Germany. But the astoundingly homogenous chronotopos of the contemporary German Heimatwestern seems oddly out of place in comparison to ‘real’ chronotopoi in contemporary German Society.

Keywords:
Deutscher Film, Fernsehen, Genre, Heimat, Chronotopos
German Cinema, genre, Heimat, Bachtin, Sobchack

Auf der Straße. Transformationen der Road Novel bei Christian Kracht, Wolfgang Herrndorf, Maren Wurster und Paula Irmschler
Von Irmtraud Hnilica (Hagen)

Abstract:
Der Beitrag untersucht Transformationen der Road Novel in der deutschsprachigen Literatur. Dazu wird der Einfluss von Jack Kerouacs ‚On the Road‘ auf Texte von Christian Kracht, Wolfgang Herrndorf, Maren Wurster und Paula Irmschler in den Blick genommen. Während Kerouacs Protagonisten auf der Suche nach Freiheit ekstatische Erfahrungen auf der Straße machen, zeigen die deutschsprachigen Autor*innen Perspektiven, die oft von Gefühlen der Entfremdung oder einem Streben nach Integration geprägt sind. Krachts ‚Faserland‘ thematisiert den Ennui des Unterwegsseins, während Herrndorfs ‚Tschick‘ und Wursters ‚Das Fell‘ die Suche nach Normalität und Zugehörigkeit in den Vordergrund stellen. Irmschlers ‚Superbusen‘ bietet eine feministische Perspektive und hinterfragt Genderkonfigurationen der Road Novel. Insgesamt macht der Beitrag deutlich, dass die deutschsprachige Road Novel nicht nur von Aufbrüchen erzählt, sondern auch von der Sehnsucht nach einem stabilen, mithin gar bürgerlichen Zuhause.

This article examines transformations of the road novel in German-language literature. To this end, the influence of Jack Kerouac’s ‘On the Road’ on texts by Christian Kracht, Wolfgang Herrndorf, Maren Wurster and Paula Irmschler will be examined. While Kerouac’s protagonists have ecstatic experiences on the streets in search of freedom, the German-language authors show perspectives that are often shaped by feelings of alienation or a striving for integration. Kracht’s ‘Faserland’ addresses the ennui of being on the road, while Herrndorf ’s ‘Tschick’ and Wurster’s ‘Das Fell’ focus on the search for normality and belonging. Irmschler’s ‘Superbusen’ offers a feminist perspective and questions gender configurations of the road novel. Overall, the article makes it clear that the German-language road novel not only tells of new beginnings, but also of the longing for a stable, and thus even middle-class home.

Keywords:
Road Novel, Gegenwartsliteratur, Intertextualität, Genretransformation, Gender
Road Novel, contemporary literature, intertextuality, genre transformation, gender

The Wrongs of Woman, or Maria by Mary Wollstonecraft: On the Crisis of the Narrative Form and the Agency of Fiction
By Anna Paluchowska-Messing (Jagiellonian University, Krakow)

Abstract:
This article examines The Wrongs of Woman, or Maria by Mary Wollstonecraft as a text which combines features characteristic of the novella into interplay with other literary and non-literary genres of the period. The work was published posthumously in 1798 by William Godwin in its unfinished form, but the sketches of the endings left by the author and included in Godwin’s publication make it possible to see how the text may have been developed into a complete whole. Wollstonecraft’s explicit engagement in the politics of her times and the compositional choices she made in The Wrongs of Woman as it stands suggest areas for exploration of the text as a work of social critique. This article discusses the way the text employs elements of the bildungsroman, Gothic fiction, prostitute confession narratives, and criminal conversation accounts – among which the characteristic features of the novella make a prominent stand – to examine the efficacy of fiction as a means of bringing about social change.

Keywords:
novella, The Wrongs of Woman, or Maria, Wollstonecraft, social intervention, literary genre

Formulating the Novella: Genre and the Significance of Detail
By Jordan Kistler (University of Strathclyde)

Abstract:
This essay takes as its starting point H. G. Wells’s 1911 essay “The Contemporary Novel”, in which he distinguishes between short and long fiction based on the apparent quantity and relevance of each form’s detail, anticipating Roland Barthes’s (1968) concept of “insignificant notation” as the superfluous detail that creates the “reality effect” in fiction. Florian Fuchs (2019) follows this line of thought when he defines the novella by its limited world-building, arguing that novellas must “begin from our world…because their focus on one episode prevents them from developing a world of their own.” Here, Fuchs suggests that realism is the natural mode for the novella form. In contrast, I suggest that the limited world-building in the novella is precisely what makes it the ideal form for genre fiction, including science fiction and the Gothic – genres whose function or purpose requires a scarcity of detail. In making this argument, I examine three nineteenth-century novellas across genres: Henry James’s Daisy Miller, Sheridan Le Fanu’s Carmilla, and H. G. Wells’s The Time Machine.

Keywords:
H. G. Wells, Henry James, Sheridan Le Fanu, Gothic, Science Fiction

The Limitations of Novellas: Failed Dystopias
By Ayman Almomani (University of Pécs)

Abstract:
This article discusses how effective the novella form might be for the dystopian genre. Developing the idea of a “textual space” from Patricia McManus’s Critical Theory and Dystopia (2022), I outline three qualities particular to dystopias: guards, gaps, and a dystopic story world. Novel-length dystopias provide vast textual spaces for the reader to actively interpret the fictional world, as I demonstrate through two case studies: George Orwell’s Nineteen Eighty-Four and Philip K. Dick’s Do Androids Dream of Electric Sheep?. In contrast, the gaps and guards in novella-length examples of dystopia differ due to the restricted space available in the form. To make my case I use two novella-length texts often included in the dystopian canon: E. M. Forster’s The Machine Stops and H. G. Wells’s The Time Machine. Beyond a comment on length, I show how the dystopian genre works through textual space and how the lack of space in novellas cannot produce the same effects.

Keywords:
dystopia, Wells, The Time Machine, Forster, The Machine Stops, Orwell, Nineteen Eighty-Four

Approaches, Definitions and Literary Forebears: The Novellas of Claire Keegan
By Zsuzsa Csikai (University of Pécs)

Abstract:
The definition and generic description of the novella as a distinct prose subgenre has proved elusive. In any attempt to define the novella, the question is what it does differently to the short story and the novel, and whether the novella has distinguishing characteristics regarding form and content that the other two genres do not exhibit. Judith Leibowitz claims that the distinguishing feature of the novella is its “double effect of intensity and expansion”. Exploring the ways in which the novella is a distinct and independent genre is an intriguing challenge, and in this essay, I examine whether Leibowitz’s ideas provide a working theory for making such a distinction. For this aim, Claire Keegan’s novellas will be examined alongside a novella by Anton Chekhov. A special focus will be on Keegan’s Foster, which first appeared in an abridged version as a short story in The New Yorker (2010) and later that year was published as a self-standing book in its original form as a novella. The formal and structural analysis of these short prose works will show whether Leibowitz’s theory can yield a better understanding of the novella as not an adjacent but an independent prose subgenre.

Keywords:
Short Story, Novella, Leibowitz, Narrative Purpose, Keegan

Von der kreativen magia daemoniaca zum Teufel als Künstler. Spanisch-französische Stationen der ars diaboli vom 17. bis 20. Jahrhundert
Von Anna Isabell Wörsdörfer (Münster)

Abstract:
Der Teufel ist in der christlichen Vorstellungswelt der personifizierte Widersacher, der seine Umwelt immer wieder zu Gegenreaktionen herausfordert. Er besitzt aufgrund seiner magischen Fähigkeit zur Täuschung seit jeher aber auch eine gewisse Nähe zur künstlerischen Illusion und damit zu ästhetischen Schöpfungsverfahren. Der Artikel zeichnet die Evolution der ars diaboli von falschem Trug zu wahrer Kunst an spanischen und französischen Fallbeispielen nach und zeigt auf, inwiefern das diabolische Kernmerkmal der Hybridität Inhalt und Form der Texte selbst beeinflusst. Dabei wird die hybride Ambivalenz des Teufels als auslösendes Moment von Kreativität herausgearbeitet.

The devil, as the personified adversary in the Christian imagination, perpetually provokes his surroundings, eliciting reactions and opposition. Yet, through his inherent ability to deceive by his magic, he has long been associated with artistic illusion and, by extension, the processes of aesthetic creation. This article explores the evolution of the ars diaboli, from mere deception to genuine artistic expression, through Spanish and French examples that highlight how the devil’s core trait of hybridity shapes both the content and form of the texts. The devil’s hybrid ambivalence is thus revealed as a key catalyst for creative inspiration.

Keywords:
Illusion, Fiktion, Hybridität, Teufel, Kreativität
Illusion, Fiction, Hybridity, Devil, Creativity

Fra traduzione e riscrittura. Su Gherardo e Gaietta di Giosuè Carducci
di Giuseppe Marrone (Roma)

Abstract:
Composta tra il gennaio e il marzo 1881 e pubblicata per la prima volta da Carducci lo stesso anno sul Fanfulla della Domenica e più tardi nell’viii libro delle Rime Nuove, Gherardo e Gaietta nasce come traduzione della chanson de toile Lou samedi a soir fat la semainne, conosciuta attraverso l’edizione datane un decennio prima da Karl Bartsch, e si inserisce nel quadro degli interessi romanistici vivi nell’autore in quegli anni, dall’affidamento cioè della cattedra di Letteratura neolatina nel 1875 presso l’Università di Bologna. Il testo evidenzia tuttavia chiaramente dei forti tratti di originalità rispetto all’originale antico francese, risultando piuttosto una ‹fedele riscrittura› dalla quale emerge la personalità carducciana e soprattutto un atteggiamento traduttivo decisamente diverso da quanto evidenziato nelle traduzioni inserite nelle lezioni dedicate ai trovatori provenzali Jaufré Rudel e Bernart de Ventadorn.

Composed between January and March 1881 and published for the first time by Carducci the same year in the Fanfulla della Domenica and later in the viii book of the Rime Nuove, Gherardo e Gaietta was born as a translation of the chanson de toile Lou samedi a soir fat la semainne, known through the edition given a decade earlier by Karl Bartsch, and is part of the framework of the Romanist interests alive in the author in those years, that is, since the entrustment of the chair of Neo-Latin Literature in 1875 at the University of Bologna. However, the text clearly shows strong traits of originality with respect to the Old French original, turning out rather to be a ‹faithful rewriting› from which Carducci’s personality emerges and, above all, a translation attitude decidedly different from what is evidenced in the translations included in the lectures devoted to the Provençal troubadours Jaufré Rudel and Bernart de Ventadorn.

Keywords:
Giosuè Carducci, chanson de toile, Gherardo e Gaietta, Lou samedi a soir fat la semainne, traduzione.
Giosuè Carducci, chanson de toile, Gherardo e Gaietta, Lou samedi a soir fat la semainne, translation.

La tematizzazione della Storia nella Werkpolitik della scrittrice italofona Anilda Ibrahimi tra Rosso come una sposa (2008) e Volevo essere Madame Bovary (2022)
Von Stephan Feldhaus (Würzburg)

Abstract:
Il rigetto della dicitura ‹scrittrice migrante› e dell’autobiografismo per promuovere let¬ture più propriamente narratologiche e motivico-tematiche è fondamentale per l’attuale ‹Werkpolitik› di Anilda Ibrahimi. Parallelamente, Ibrahimi cerca di stabilire una cesura fra i suoi primi quattro romanzi e il suo ultimo romanzo, Volevo essere Madame Bovary, collegando i primi al Novecento albanese e l’ultimo all’attualità italiana. Infatti, Rosso come una sposa, che si può analizzare come metafinzione storiografica, è alla base della riflessione sulla Storia nell’opera di Ibrahimi.

Die Ablehnung des Begriffs ‹migrantische Autorin› und des Autobiographismus, um narratologische und motivisch-thematische Lektüren zu befördern, ist zentral für Anilda Ibrahimis aktuelle Werkpolitik. Damit einhergehend versucht Ibrahimi eine Zäsur zwischen ihren vier ersten Romanen und ihrem jüngsten Roman Volevo essere Madame Bovary zu etablieren, indem sie erstere mit dem 20. Jahrhundert Albaniens und letzteren mit der italienischen Gegenwart verbindet. Tatsächlich ist Rosso come una sposa, der sich als metahistoriographische Fiktion analysieren lässt, Ausgangspunkt der Reflexion von Geschichte im Werk Ibrahimis.

Keywords:
metafinzione storiografica, letteratura della migrazione, autobiografismo, paratesti, Al¬bania
metahistoriographische Fiktion, Migrationsliteratur, Autobiographismus, Paratexte, Al¬banien