Gaderer Rupert
Ber Wiss. 2014 Dec;37(4):351-62. doi: 10.1002/bewi.201401694.
At the end of the eighteenth century, people who became notorious for their excessive engagement in legal proceedings started being labeled as "querulents" or "paranoid litigants". The term "querulents" first appeared in the General Order of the Court for the Prussian States (Allgemeine Gerichtsardnung für die Preussischen Staaten) from July 6, 1793. From there on, the spectrum of juridical measures undertaken against the so-labeled litigators included classifying these persons as ineligible for legal action and psychiatric hospitalization. The paper discusses to what extent Hermann Bahr rearranges psychiatric and legal knowledge about this special type of the complainer in his tragi- comedy Der Querulant, premiered in 1914. This concerns, first, the theatricality of the body and speech, secondly, the use of cultural techniques of writing and, thirdly, conflict- ing notions of justice. Therefore, the paper analyzes the aesthetic function of querulous behavior in the dramatic structure of the play from the point of view of both media theory and literary theory.
在18世纪末，那些因过度参与法律诉讼而声名狼藉的人开始被贴上“爱争吵者”或“偏执诉讼人”的标签。“爱争吵者”一词首次出现在1793年7月6日的普鲁士邦法院总命令（《普鲁士邦通用法院命令》）中。从那时起，针对这些被如此称呼的诉讼人的司法措施范围包括将这些人归类为无资格提起法律诉讼以及送进精神病院接受治疗。本文探讨了赫尔曼·巴尔在其于1914年首演的悲喜剧《爱争吵者》中在多大程度上重新编排了关于这类特殊抱怨者的精神病学和法律知识。这首先涉及身体和言语的戏剧性，其次涉及写作文化技巧的运用，第三涉及相互冲突的正义观念。因此，本文从媒介理论和文学理论的角度分析了爱争吵行为在该剧戏剧结构中的审美功能。
