"Malina" - Eine moderne Mordgeschichte: De-/Konstruktion eines weiblichen Subjekts bei Ingeborg Bachmann
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Studienarbeit aus dem Jahr 2011 im Fachbereich Germanistik - Neuere Deutsche Literatur, Note: 1,3, Ernst-Moritz-Arndt-Universität Greifswald, Sprache: Deutsch, Abstract: Einleitung "Malina" ist einer der interessantesten Kriminalromane des 20. Jahrhunderts. Die These, die hier aufgestellt wird, ist gewagt und impliziert zugleich, dass es sich bei Ingeborg Bachmanns Werk aus dem Projekt Todesarten-Zyklus nicht um einen "Liebesroman" handelt, "der vollkommen verzichtet auch auf die winzigste erotische Gewagtheit", wie es Joachim Kaiser in der Süddeutschen Zeitung behauptet.(1) Viel mehr ist es eine Mordgeschichte, die so völlig anders ist, als andere Mord- und Kri-minalgeschichten. Ein Mord an einer Protagonistin im Wien der Nachkriegszeit, nicht etwa durch direkte Gewalttaten, sondern durch Sprache, Schweigen, Schrift und viele andere, eigentlich harmlos erscheinende Dinge. Um dies zu beweisen, wird auf die Erzähltextanalyse zurückgegriffen, die im unmittelbaren Zusammenhang mit den Gender Studies steht. Desweiteren wird Ju-dith Butler als eine führende Wissenschaftlerin auf dem Gebiet der Gender Studies mit ihrem Werk "Ha spricht" näher herangezogen. Sie untersuchte mit Hilfe der Sprechakttheorie von Austin und Searle, wie Sprache funktioniert und sogar verlet-zen und/oder töten kann. In der vorliegenden Arbeit geht es also darum, wie ein Sub-jekt sich innerhalb einer Gesellschaft konstruiert bzw. konstruiert wird, dabei aber versagt und am Ende eigentlich dem Prozess der Dekonstruktion unterworfen ist. Geschaut werden soll dazu auf die Mittel, die diese De-/Konstruktion bewirken. "Malina" ist kein Kriminalroman, bei dem es am Ende einen direkten Mörder gibt, aber es lassen sich in gewisser Hinsicht Täter ausfindig machen, keine "Missetäter, sondern ganz neutral[e] Täter."(2) 1 Bachmann, Ingeborg: Malina. Erste Auflage 1980. Frankfurt am Main: Suhrkamp 1971. Buchum-schlag hinten 2 Butler, Judith: Ha spricht. Zur Politik des Performativen. Frankfurt am
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