Verlorenes Lachen: Blasphemisches Gelächter in Der Deutschen Literatur Von Der Aufklärung Bis Zur Gegenwart
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In literarischen Texten seit der Mitte des 18. Jahrhunderts entwickelte sich Lachen, in der jüdisch-christlichen Überlieferung als signum infidelitatis verdächtigt, im Zeichen aufklärerischer Zweifel und der Theodiezeeproblematik mit beeindruckender Geschwindigkeit zu einem weit verbreiteten Motiv. Die motivgeschichtliche Arbeit diskutiert eingangs die theologischen und anthropologischen Bedingungen für dieses literarische Phänomen; die au erliterarischen Parallelen werden dabei anhand von historischen Fallstudien (u.a. aus dem Magazin für Erfahrungsseelenkunde und M. Foucaults Pierre Rivière ) einbezogen.
Im Hauptteil der Untersuchung werden kanonische Texte aus drei Jahrhunderten auf die sich verändernden Funktionen des Lachmotivs hin befragt. In seinen ersten Jahrzehnten ist die Kombination theologischer und gesellschaftlicher Krisen charakteristisch. Dies gilt für Lessings Minna von Barnhelm ebenso wie etwa für Moritz' autobiographischen Roman Anton Reiser , die Nachtwachen des Bonaventura , Tiecks Romanfragment Der Aufruhr in den Cevennen und Büchners Erzählung Lenz . In Der Ketzer von Soana scheiterte Hauptmann bei dem Versuch, menschlichem Lachen eine neuheidnische Unschuld zuzuschreiben. Im christlichen Kulturkreis enthält Lachen unvermeidlich Anklänge metaphysischer Rebellion.
Die Untersuchung zeigt abschlie end, wie diese Tatsache in Texten des späten 20. Jahrhunderts (so z.B. bei Wolf, Ransmayr, v. Düffel) als Störfaktor wirken und die ästhetische Stringenz bedrohen kann. Wie sich schon in Thomas Manns Faustus -Roman andeutete, kam der motivgeschichtliche Alterungsproze dort zu einem (vorläufigen?) Abschlu , wo blasphemisches Lachen nur noch eine Marke in einem postmodernen Zitierspiel ist.
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