Anamorphosen der Zeit
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Die Studie widmet sich erstmals systematisch dem Konnex zwischen Poesie und Geschichte, der in Jean Pauls Romanen, aber auch in seiner Ästhetik allgegenwärtig ist. Die Weltgeschichte gilt ihm als eine "Epopoe" Gottes, doch bis zu ihrem Ende bleibt sie ein "unvollendeter Roman". Die Untersuchung analysiert den Unsterblichkeitsdiskurs, die totalisierende Rolle der Einbildungskraft, den Gattungsdiskurs um 1800 (Friedrich und August Wilhelm Schlegel, Goethe, Schiller, Herder, Schelling) sowie die geschichtsphilosophische Diskussion (Herder, Jacobi, Fichte) und erarbeitet in diesem Kontext eine Semantik der Zeit- und Geschichtsbegriffe Jean Pauls.
Der manichäische Gegensatz von Zeit und Zeitlosigkeit fällt für Jean Paul (1763-1825) mit dem Gattungsdualismus von Drama und Epos zusammen. Dabei erweist sich das Epos in geschichts- und stiltypologischer Perspektive als Modell zeittranszendierender Totalität, es wird zur Leitmetapher einer in sich erfüllten Geschichte. Jean Pauls epistemologische Kritik an Herders Geschichtsteleologie, der Gleichsetzung von mechanistischer Natur- und kontingenter Menschheitsgeschichte, lä t jedoch erkennen, da die reale Historie für ihn auf unabsehbare Zeit ein "dramatischer" Roman bleibt. In seinen Romanwelten sucht er den Zustand einer nicht-defizitären Zeit poetisch zu antizipieren. In drei Einzelinterpretationen - "Hesperus", "Titan", "Flegeljahre" - beschreibt Ralf Berhorst den konstruktiven Aufwand, mit dem Jean Paul das Ideal einer in sich totalen, einer "epischen" Zeit in die Form des modernen Romans hinüberretten will.
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