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In my contribution, I argue that a fruitful integration of computational network analytic methods into literary studies depends on how the ›interaction‹ of two characters in an abstract character network is formalized. I support this hypothesis by using the examples of co-presence, co-reference, and knowledge networks, which I analyze in Heinrich Kleist’s tragedy  Die Familie Schroffenstein  (1803). I assume that the co-presence of characters can provide the basis for more specific formalizations of interaction. But due to its basal specification of interaction, co-presence networks can only be integrated into rather limited questions of literary studies. I illustrate this circumstance by examining Franco Moretti’s approach in his essay  Network Theory, Plot Analysis  (2011): How does he connect his network analyses to concepts of literary studies? How does he reflect his methods? Which observational stance does he adopt? How appropriate is his approach to the object of study? And how does he tie his results back to literary theory? Moretti’s explorations show that his network analyses seem to be incompatible with established conceptions of characters – at least partially. Therefore, he demands a new conceptualization of dramatic characters in literary studies. To me, however, it seems to be more productive to put into perspective or enhance – under the auspices of network analysis – existing quantitative aspects of established character presentation (configuration, constellation).

journal of literary theory

Kopräsenz-, Koreferenz- und Wissens-Netzwerke . Kantenkriterien in dramatischen Figurennetzwerken am Beispiel von Kleists    Die Familie Schroffenstein  (1803)