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href="https://web.archive.org/web/20210115150844/http://www.adwmainz.de/impressum.html">Impressum</a></li> </ul></nav> </div> </div> </div> </header> <div id="main" class="single-post"> <div id="content"> <article class="article"> <header class="heading-holder"> <h1><a href="https://web.archive.org/web/20210115150844/https://dhd-blog.org/?p=6415">„Nicht einfach den PC anschalten“</a></h1> <div class="meta"> <span class="counter "><a href="#comments" title="Zu den Kommentaren">0</a></span> <span>Veröffentlicht von <a href="https://web.archive.org/web/20210115150844/https://dhd-blog.org/?author=112">Nicole Alexander</a> am <time datetime="2016-02-15">15. Februar 2016</time></span> </div> </header> <div id="attachment_6421" style="width: 522px" class="wp-caption alignnone"><a href="https://web.archive.org/web/20210115150844/https://dhd-blog.org/wp-content/uploads/2016/02/Plachta_II.jpg"><img aria-describedby="caption-attachment-6421" class=" wp-image-6421" src="https://web.archive.org/web/20210115150844im_/https://dhd-blog.org/wp-content/uploads/2016/02/Plachta_II.jpg" alt="Der Editionswissenschaftler Bodo Plachta vor dem Lessinghaus in Wolfenbüttel. Foto: Nicole Alexander" width="512" height="341"/></a><p id="caption-attachment-6421" class="wp-caption-text">Der Editionswissenschaftler Bodo Plachta vor dem Lessinghaus in Wolfenbüttel. Foto: Nicole Alexander</p></div> <p><strong>Auf der Tagung „Digitale Metamorphose. Digital Humanities und Editionswissenschaft“, die im November im Rahmen des <a href="https://web.archive.org/web/20210115150844/http://www.mww-forschung.de/" target="_blank">Forschungsverbunds Marbach Weimar Wolfenbüttel (MWW)</a> an der <a href="https://web.archive.org/web/20210115150844/http://www.hab.de/" target="_blank">Herzog August Bibliothek Wolfenbüttel</a> stattfand, hielt Bodo Plachta den Eröffnungsvortrag. Mit dem Doyen der Editionswissenschaft sprachen wir am Rande der Tagung darüber, wie er den Einzug des Digitalen in die Editorik erlebt hat, warum solides Handwerkszeug nach wie vor so wichtig ist und weshalb es das gedruckte Buch weiterhin geben wird. </strong></p> <p><strong>Von Lydia Koglin und Nicole Alexander</strong></p> <p><strong>Herr Professor Plachta, digitale Ausgaben werden gedruckte Editionen verschwinden lassen, hat Thomas Stäcker, kommissarischer Direktor der HAB und Leiter der <a href="https://web.archive.org/web/20210115150844/http://www.mww-forschung.de/digitale-forschungsinfrastruktur/tagungen/" target="_blank">Tagung „Digitale Metamorphose. Digital Humanities und Editionswissenschaft“</a> vor einigen Wochen in einem Interview in diesem Blog gesagt. Teilen Sie seine Einschätzung? </strong></p> <p>Bodo Plachta: Nein, das gedruckte Buch wird nicht verschwinden. Es wird immer sowohl Print- als auch digitale Editionen geben. Und wir tun gut daran, keine Entweder-Oder-Diskussion zu führen. Dafür gibt es zu viele Bereiche, in denen gedruckte, wissenschaftlich verantwortete Texte notwendig sind. Sicherlich werden bei der Editionsarbeit zunehmend digitale Methoden eine Rolle spielen. Das heißt aber nicht, dass die traditionelle klassische Textkritik an Bedeutung verliert. Denn sie ist Voraussetzung für die philologische Tiefenerschließung und damit für jede Edition mit wissenschaftlichem Anspruch.</p> <p><strong>Sie sind seit vielen Jahren intensiv mit der Editionswissenschaft befasst, haben dazu diverse Bücher veröffentlicht. Wie haben Sie den Einzug des Digitalen in die Editorik erlebt?</strong></p> <p>Ehrlich gesagt kam dieser Einzug ziemlich überraschend für mich. Mir war aber schnell klar, dass sich der Editionswissenschaft dadurch ganz neue Perspektiven eröffnen. Probleme, mit denen wir Herausgeber jahrelang gekämpft haben, ließen sich plötzlich ganz einfach lösen. Das war ein echtes Aha-Erlebnis.</p> <p><strong>Können Sie dafür ein Beispiel nennen? </strong></p> <p>Ein Quantensprung war natürlich die viel bessere Darstellbarkeit von Textgenesen: Handschriften und Faksimiles können im digitalen Medium problemlos auf einen Text bezogen, mit Varianten verknüpft und parallel betrachtet werden. Das ist im linearen Buch-Medium naturgemäß nicht möglich. Zudem bieten digitale Editionen anders als traditionelle Buchausgaben die Möglichkeit, alles vorhandene Textmaterial auch zu zeigen. Darin liegt aber auch eine Gefahr.</p> <p><strong>Inwiefern? </strong></p> <p>Nun, je mehr Material und je mehr Daten generiert werden, desto größer ist das Risiko, dass es an der notwendigen philologischen Tiefenerschließung dieses Materials mangelt. Schon immer hat die Editionswissenschaft diskutiert, wie sich textliche Prozesse anschaulich machen lassen können. Diese Diskussion hat sich durch das Medium Internet ja nicht erübrigt, im Gegenteil. Für eine echte digitale Edition reicht es eben nicht aus, Handschriften-Faksimiles ins Netz zu stellen und dazu vielleicht eine Transkription. Es gehört schon etwas mehr an Erschließungsarbeit dazu, um dem Nutzer deutlich zu machen, welche Ziele ich mit meiner Edition verfolge und warum ich einen Text, einen Textkorpus, eine Korrespondenz in der von mir gewählten Weise publiziere.</p> <p><strong>Das klingt fast so, als teilten Sie den häufig geäußerten Einwand, dass viele digitale Editionen weniger sorgfältig erstellt seien als gedruckte Ausgaben. </strong></p> <p>Nein, so pauschal würde ich das nicht sagen. Was ich aber betonen möchte: Letztlich stehen alle Herausgeber vor dem gleichen philologischen Problem – unabhängig davon, in welchem Medium sie publizieren: Sie müssen immer wieder editorische Entscheidungen treffen, die Interpretationen implizieren. Natürlich würden wir solche Interpretationen am liebsten aus der editorischen Arbeit heraushalten. Aber das ist gar nicht möglich. Allein wenn Sie ein Wort entziffern oder eine Streichung als Sofort- oder als Spät-Korrektur identifizieren, nehmen Sie eine Bewertung vor. Editionen, in welchem Medium auch immer, sind immer Laboratorien, hoch spezialisierte Arbeitsmittel, und müssen als solche betrachtet werden.</p> <p><strong>Was heißt das konkret?</strong></p> <p>Dem Leser bzw. Nutzer muss klar sein, dass auch Editionen mit wissenschaftlichem Anspruch nicht frei sind von Einstellungen und Auffassungen des Herausgebers, dass auch Fragen des Literaturbetriebs hineinspielen. Es ist also ein hochkomplexes System unterschiedlicher Faktoren, die den Wert einer Edition beeinflussen.</p> <p><strong>Sie waren nicht nur einer von zwei Keynote-Speakern am Eröffnungsabend der <a href="https://web.archive.org/web/20210115150844/http://www.mww-forschung.de/digitale-forschungsinfrastruktur/tagungen/" target="_blank">Tagung „Digitale Metamorphose. Editionswissenschaft und Digital Humanities“</a>, sondern haben auch die Vorträge und Diskussionen an den beiden folgenden Tagen verfolgt. Wie haben Sie diese erlebt, was haben Sie aus der Tagung mitgenommen? </strong></p> <p>Mitgenommen habe ich, dass heute mit großer Ernsthaftigkeit und Fähigkeit zur Selbstkritik auf dem Gebiet der digitalen Edition gearbeitet wird. Das war in den Anfangsjahren der digitalen Editorik ganz anders, da herrschte eine schon fast unkritische Aufbruchsstimmung. Diese nun spürbare Ernsthaftigkeit und ständige Selbstvergewisserung und damit auch Ausdifferenzierung der damit zusammenhängenden methodischen Herangehensweisen fand ich sehr überzeugend. Umso mehr glaube ich, dass der oft konstruierte Gegensatz zwischen „traditioneller“ Philologie einerseits und „moderner“, im digitalen Medium stattfindender Philologie andererseits eigentlich gar kein Gegensatz ist, sondern dass es hier im Gegenteil sehr enge Berührungspunkte und sehr gute Kooperationsmöglichkeiten gibt.</p> <p><strong>Wie könnten diese konkret aussehen?</strong></p> <p>Nun, denken Sie etwa an Hybrid-Editionen, also gedruckte Ausgaben, die um digitale Anteile ergänzt werden. Ich denke, solche Editionen sind eine hervorragende Möglichkeit, um unterschiedliche Interessen zu vereinen.</p> <p><strong>Welche Hybrid-Edition finden Sie persönlich besonders überzeugend? </strong></p> <p>Da fällt mir als ein Beispiel unter zahlreichen anderen die <a href="https://web.archive.org/web/20210115150844/http://www.nma.at/" target="_blank">„Neue Mozart-Ausgabe“</a> der Union der Deutschen Akademien der Wissenschaften ein, die 2007 abgeschlossen wurde. Auf Basis dieser gedruckten Ausgabe arbeiten die Internationale Stiftung Mozarteum und das Packard Humanities Institute derzeit an der Erstellung einer „Digitalen Mozart-Edition“. Diese soll die „Neue Mozart-Ausgabe“ keineswegs ersetzen, sondern vielmehr begleiten und um neue Perspektiven ergänzen. Gut möglich, dass in der Folge mancher Dirigent die eine oder andere Passage in den Kompositionen Mozarts anders verstehen und anders musikalisch umsetzen wird als bisher.</p> <p><strong>Gibt es solche positiven Beispiele auch in der Literaturwissenschaft? </strong></p> <p>Da ist vielleicht <a href="https://web.archive.org/web/20210115150844/http://www.klassik-stiftung.de/einrichtungen/goethe-und-schiller-archiv/propylaeen" target="_blank">„Propyläen“</a> zu nennen, eine integrierte Forschungsplattform zu Goethes Biographica, die seit 2015 von der Klassik Stiftung Weimar, der Digitalen Akademie Mainz und der Sächsischen Akademie der Wissenschaften zu Leipzig gemeinsam aufgebaut wird. Geplant ist, die derzeit im Goethe- und Schiller-Archiv Weimar laufenden historisch-kritischen Neu-Editionen der Briefe und Tagebücher Goethes nicht nur in Buchform zu veröffentlichen, sondern auch in einer digitalen Plattform zusammenzuführen, in die dann zusätzliche biografische Dokumente Goethes eingespeist werden sollen. Dadurch soll der gesamte Kosmos des goetheschen Schreibens zunächst im Bereich des Biografischen sichtbar gemacht und verknüpft werden. Bei dieser Arbeit spielen natürlich Bibliotheken und Archive als Orte, die traditionsgemäß Wissen und Erfahrung bewahren, eine große Rolle. Vor allem sollte man Vorgänger-Editionen nicht einfach als überholt abklassifizieren und über Bord werfen, sondern das in ihnen enthaltene Wissen in die Arbeit an neuen Editionen einbeziehen.</p> <p><strong>Sie haben viele Studenten an die Editionswissenschaft herangeführt. Was würden Sie jemandem raten, der eine digitale Ausgabe plant? </strong></p> <p>Ich würde ihm empfehlen, einen Studiengang in Editionswissenschaft zu absolvieren, um sich das traditionelle textkritische Handwerkszeug anzueignen. Zugleich sollte er sich intensiv über neue digitale Methoden der Editorik informieren. Ich warne jedenfalls davor, einfach den Computer anzuschalten und loszulegen. Für die Editionsarbeit ist solides Handwerkszeug notwendig und natürlich dieses alte, schon von Karl Lachmann, dem Begründer der Methode der historisch-kritischen Edition, beschworene Herausgeber-Ethos der „strengen Sorgfalt“.</p> <p><em>Dr. Bodo Plachta ist Professor für Neuere Deutsche Literaturwissenschaft, Mitherausgeber der Zeitschrift <a href="https://web.archive.org/web/20210115150844/http://www.degruyter.com/view/j/edit"><i><strong>„</strong></i>editio<i><strong>“</strong></i></a> und Autor des Buches „Editionswissenschaft: Eine Einführung in Methode und Praxis der Edition neuerer Texte<strong>“</strong>. 2014 veröffentlichte er gemeinsam mit dem Fotografen Achim Bednarz den Bildband „Künstlerhäuser. Ateliers und Lebensräume berühmter Maler und Bildhauer<strong>“</strong>.</em></p> <p><i>Eine Dokumentation der Tagung <strong><em>„</em></strong>Digitale Metamorphose. Digital Humanities und Editionswissenschaft<strong><em>“</em></strong>, die vom 2. bis 4. November 2015 an der Herzog August Bibliothek Wolfenbüttel stattfand, finden Sie auf der Webseite des Forschungsverbunds Marbach Weimar Wolfenbüttel (MWW) unter <a href="https://web.archive.org/web/20210115150844/http://www.mww-forschung.de/digitale-forschungsinfrastruktur/tagungen/" target="_blank">www.mww-forschung.de/digitale-forschungsinfrastruktur/tagungen/</a>. </i><i>Dort stehen unter anderem die beiden Eröffnungsvorträge von Bodo Plachta und Joâo Dionísio als Audiofiles sowie die Powerpoint-Präsentationen verschiedener Referentinnen und Referenten zur Verfügung.</i></p> <div class="social-share"> <div class="addthis_toolbox addthis_default_style addthis_32x32_style"> <a class="addthis_button_preferred_1"></a> <a class="addthis_button_preferred_2"></a> <a class="addthis_button_preferred_3"></a> <a class="addthis_button_preferred_4"></a> <a class="addthis_button_compact"></a> <a class="addthis_counter addthis_bubble_style"></a> </div> <script type="text/javascript" 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href="https://web.archive.org/web/20210115150844/https://dhd-blog.org/?m=201112">Dezember 2011</a></li> </ul>  </div><div id="linkcat-2" class="widget widget_links"><h3>Blogroll</h3> <ul class="xoxo blogroll"> <li><a href="https://web.archive.org/web/20210115150844/http://clairewarwick.blogspot.com/" title="Thoughts about Digital Humanities, academia, research, running things, and being a woman with too much to do.">Claire Warwick's blog</a></li> <li><a href="https://web.archive.org/web/20210115150844/http://www.gcdh.de/en/projects/dh" title="Göttinger Verbundprojekt zu DH" target="_blank">DH Forschungsverbund</a></li> <li><a href="https://web.archive.org/web/20210115150844/http://www.dh2012.uni-hamburg.de/">DH2012 Hamburg</a></li> <li><a href="https://web.archive.org/web/20210115150844/http://dhdhi.hypotheses.org/">Digital Humanities am DHIP</a></li> <li><a href="https://web.archive.org/web/20210115150844/http://dhi.intd.cnam.fr/">Digital Humanities International</a></li> <li><a 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