Abstract

The article examines Heidi’s suffering in the multimedial career of Johanna Spyri’s 1880 novel ›Heidis Lehr- und Wanderjahre‹. In the adaptations, Heidi’s suffering is continually recontextualized according to societal and genre specific conditions. In Spyri’s novel, the focus lies on a pathologized homesickness which is elevated through Christian interpretation, presenting it as a necessity on the path to salvation. The religious motivation fades throughout the adaptations, so that in the (post-)war era, the idyllic mountain world is used to foster community and sharpen Switzerland’s political profile. In perhaps the most famous adaptation Heidi undergoes a childish regression as ›cute Heidi‹ in the anime, while in 21st century adaptations, she emancipates herself, ultimately appearing as ›Mad Heidi‹ in a dystopian setting to save Switzerland from a cheese dictatorship: Heidi no longer suffers; she’s mad.