Georg Büchners Revolutionsdrama Danton's Tod kommt innerhalb der politisch akzentuierten Dichtung der literaturgeschichtlichen Epoche des Vormärz eine Sonderrolle zu. Wie seine Gattungsbezeichnung bereits andeutet, stellt das Theaterstück mit der Französischen Revolution einen bis dato unvergleichlich radikalen gesellschaftlichen Umbruch in der europäischen Geschichte dar. Gleichsam ist das Drama dezidiert aus Büchners eigener revolutionärer Agitation in der "Gesellschaft der Menschenrechte" hervorgegangen. Danton's Tod realisiert diese enge Verzahnung von Dichtung und Engagement nicht zuletzt anhand einer gegenseitigen Spiegelung des öffentlichen Aufführungscharakters der Französischen Revolution und ihrer selbstreferentiellen Darbietung auf der Bühne des Theaters. Diese Feststellung führt zu einer zentralen Frage der philologischen Analyse solch 'revolutionärer Dichtung': Wie lässt sich ihre Doppelfunktion, sowohl aktiv in eine politische Debatte einzugreifen, als auch ein spezifisches historisches Ereignis mit innovativen künstlerischen Mitteln darzustellen, theoretisch beschreiben? Die folgenden Ausführungen widmen sich dieser Fragestellung, indem sie auf die Schriften des französischen Philosophen Jacques Rancière Bezug nehmen, der innerhalb der zeitgenössischen internationalen Forschung als einer der renommiertesten Vertreter einer dezidiert politischen Ästhetik gelten kann.
The text of Dantons Tod's Drama is a literary work that presents the practice of Hegemony and Culture. The event studied is Cultural Hegemony. The background of the French revolution presents two revolutionary leaders named Danton and Robiespierre. Robiespierre acts as the dominating party and Dantons as his political opponent as the dominated party. This study uses a qualitative method to describe Antonio Gramsci's theory of Hegemony found in the text of the play Dantons Tod by Georg Büchner. The results of the study indicate that the discovery of 5 key concepts of cultural hegemony from Dantons Tod's Drama Script including Hegemony, Agreement and Consensus, Domination, Intellectuals, Language and Ideology. The concept of hegemony consists of 5 data consisting of 5dialogue quotes written by Georg Büchner. This study uses data collection techniques, namely reading techniques and note-taking techniques by researching, understanding and classifying them. Then, qualitative descriptive data analysis techniques identify, classify and draw conclusions. This research makes legitimacy fall to the dominant party, namely Robiespierre. The actions of this character and his group gain victory on the basis of the authority, power of each character contained in Dantons Tod's drama script. Based on Gramsci's theory of hegemony, it shows the form of hegemony of every leader and ruler in obtaining his power and how the life of the French people is when hegemonized by the ruling class. Gramsci's theory of hegemony is part of the research foundation.
Der Schriftsteller Georg Büchner gilt bis heute als ein glühender Revolutionär und unerbittlicher Kämpfer für Wahrheit und Gerechtigkeit: Seine Texte thematisieren formal und inhaltlich gesellschaftliche Konflikte, die zeitlos erscheinen und doch ihre Gegenwart genau in den Blick nehmen. An der Goethe-Universität forscht der Germanist Prof. Roland Borgards zu Büchner.
Il contributo è volto a illuminare le relazioni di potere, le dinamiche sociali, politiche e private della prima prova teatrale büchneriana, composta quando Büchner era un giovane studente di anatomia, impegnato nei moti rivoluzionari. Tra figure retoriche ed economia libidica Morte di Danton sonda i limiti della sovranità nella società occidentale come eredità della Rivoluzione Francese e dei suoi eccessi. In tal senso il corpo incarna i suoi propri effetti attraverso situazioni paradossali, grottesche, argute dove si impone l'ambivalenza dello psichico. La psicoanalisi freudiana e lacaniana offre gli strumenti per indagare il valore semiotico del corpo-carne, la retorica rivoluzionaria e la struttura della sconfessione nella semantica della frase. Alto e basso; purezza e sporcizia nutrono l'universo del Danton dove teologico e scatologico sono embricati in un intreccio blasfemo e confusivo, volto a denunciare una società allo sbando in cui perversione, tradimento e inganno hanno la meglio. Lo sguardo autoptico di Büchner smaschera nell'ideale di sovranità un desiderio di dominio sull'altro che sfocia in violenza e fanatismo; orge e terrorismo reggono i rapporti umani. A dominare è una pulsionalità che gira a vuoto e sconfessa l'Edipo come principio ordinatore delle generazioni e della filiazione. Incesto e sovraesposizione del corpo popolano la scena insieme ai feticci del potere, ridotto a legge di fazione nel disconoscimento della creatura e della sua presenza nel mondo. Celan riconosce nel personaggio di Lucile la lingua della poesia e ne fa uno dei perni del suo discorso Il meridiano. L'accettazione del limite e della differenza; lo scacco della mancanza immettono nella pièce il respiro della creatura capace di congiungere in un unico destino alterità ed etica del vivente. «Body effects and theology of the flesh in Georg Büchner's Danton's death». The present contribution aims at highlighting the political, social and private intertwinings of Georg Büchner's first play, written when he was a twenty-one year old German student of anatomy engaged in revolutionary events. Between rhetorical figures and the economics of Danton's death investigates the limits of sovereignty in Western societies as heritage of the French Revolution and its excesses. Body incarnates its own effects by means of paradoxical situations, wit and ambivalence. Freudian and Lacanian psychoanalysis yield useful clues to investigate the semiotic value of the flesh as well as revolutionary rhetoric and semantic denial. Robespierre's fantasy of purity nourishes a Sadian-sadistic innocence. The condensation of low and high, purity and filth, discipline and disorder, theological and scatological elements, denounces a scattered social order dominated by perversion, ravaged by deception, exploitation and betrayal. Büchner's clinical clear-eyed, autoptic analysis reaches beyond the idea of sovereignty to a perverted desire of mastery breaking out into violence and fanaticism. Considering the overabundant flesh the body becomes theery protagonist of the drama: the place of possession and exclusion, idolatry and cannibalism. What dominates is a pure, wasteful expenditure; autonomous and unlinking acts reject the Oedipal conflict. This entails the substitution of a personal law for the collective one thus suggesting that the history of the Western onto-theological tradition is the history of the sequestration of the life of the body into fetishes and the disavowal of creatureliness, as Paul Celan argues in The Meridian. Celan draws attention to the ethical questions raised by Lucile as a way of relating to otherness, i. e. to poetry as the very voice of each single creature.
