Der aubenseiter in Heinrich Bolls Epischer kunst : eine typologische untersuchung

Abstract

Through centuries the concept of the hero has undergone changes, with the result that the grand hero of old has become an anti-hero or outsider. Many well-known twentieth century authors, including Heinrich 8611, are increasingly making use of this figure. In this dissertation the use of the outsider in the epic art of 8611 is subjected to critical analysis in accordance with certain typological models. The development of the concept of the hero in different eras is discussed chronologically, followed by an exposition of the etymological origins of the concept of the outsider, its forms of manifestation, its essential characteristics as well as the purpose to which authors, among whom 8611, apply this figure. Different typological models, all work-immanent, are discussed. The main thrust, however, is devoted to the identification model of H.R. Jauf3, with reception aesthetics as axiom. In accordance with the reader' s reception of the hero, five modalities of identification are defined namely associative, ad mi rational, sympathetic, cathartic and ironical identification.

Thereafter the occurrence of the outsider in the work of Boll is discussed : in this regard all of his novels as well as some of his short stories are examined. It transpires that the following themes occur in almost all of his works : the outsider as artist, the outsider in a violent society, the influence on, and of, the outsider within the family circle, the outsider and religion, the outsider and the prosperity-centered society. For the sake of completeness the scope includes interviews with Boll as well as essays by him, in which he expresses himself on the themes mentioned. Distinction is made between willing and unwilling, creative, destructive, biological and phlegmatic outsiders , all of whom manifest typical characteristics of the outsider, for example loneliness and incompatibility. Their alienation is usually patently visible, but in some it manifests inwardly only. Most of the outsiders eventually tragically go under, some try in vain to adapt, while others fruitlessly attempt to change society. With regard to their reception by the reader, the outsiders of Boll without exception belong to the last three modalities of Jaul3 - sympathetic , cathartic and ironical identification. Finally it is evident that the actuality of 8611 resides not only in his application of the outsider, but also in the message which his outsiders want to convey, namely the dangers which a materialistic, prosperity-centered and consumerized society poses to the individual, as well as the duty which everyone has to make this world a more secure and hospitable home for all.