Die Anti-Landschaft bei Bashō Erganzungen zur Kritik am postmodernen Landschaftsbegriff

二宮まや教授古稀・退職記念

Die Anti-Landschaft bei Bashō Erganzungen zur Kritik am postmodernen Landschaftsbegriff

二宮まや教授古稀・退職記念

Konstruktivismus, Wahrnehmung und Gedächtnis : ein Plädoyer für einen konstruktivistischen Landschaftsdiskurs

In trying to study the idea of landscape (fukei) in Japanese waka-poetry, one may find oneself confronted with a great variety of concepts. All of these share commonalities in that they are not at all defined, that their meaning depends on personal usage (at the level of the producer, as well as of the researcher who often speaks the same language), and that they can be understood on a wide spectrum between the two extreme positions marked by fiction and reality (without, of course, any scientific concept about what fiction and reality might be). Although European traditions are coping with the concept of landscape in an aesthetical and philosophical way, there is no such comparable tradition in traditional Japanese literary history (kokubungaku). Because of this, there is no satisfactory way to conceptually understand waka-landscape, since the very basic key-term itself is not mutually accessible. European and Japanese concepts of landscape may not, therefore, be able to be brought together. To have an international scientific discussion on landscape (found in every culture historically and up to the present), it is necessary to develop a concept of landscape which is not only an issue of arts, aesthetics or philosophy, but also the subject of anthropological approaches and cultural studies. In this paper, I attempt to develop a concept of landscape, which is based on constructivism and the psychology of perception and memory. I will also show how constructivist thought has gained great popularity in German social and cultural studies

Lola rennt – kontingent : eine mögliche Beobachtung zum Diskurs von Gesellschaft, Film und Wissenschaft

Kinofilme dienen mitunter der Widerspiegelung gesellschaftlicher Realität. Der vom Japanologen Robert Wittkamp verfasste Essay stellt anhand von „Terminator“ und „The Matrix“ die filmische Erzeugung von Wirklichkeit sowie die Verflechtung von gesellschaftlichem Denken und Wissenschaft dar. Dabei erläutert er die in „The Matrix“ angedeutete Simulationstheorie. Abschliessend analysiert Wittkamp das zentrale Filmelement Kontingenz von Tom Tykwers „Lola rennt“ in Bezug auf Wissenschaft und Kultur

‘Genji monogatari emaki’ as Trans- and Intermedial Storytelling. Previous Knowledge and Time as Factors of Narrativity

The ‘Illustrated Handscrolls of the Tale of Genji’ (‘Genji monogatari emaki’) are based on ‘Genji monogatari,’ a literary work written at the beginning of the eleventh century by Murasaki Shikibu. The handscrolls were manufactured between approximately 1120 and 1140. This paper scrutinizes certain relationships between the literary work and the excerpts contained in the handscrolls as well as the relationships between the textual excerpts and the pictures of the handscrolls. The leading question of the examination is the extent to which the description of time is included in the excerpts and pictures, and how this sheds light on the problem of ‘potentially narrative paintings.’ These issues will be discussed by taking the hypotheses of two Japanese scholars into account. While Sano Midori claims that an adequate reception of the handscrolls requires the knowledge of the original text, Shimizu Fukuko takes the opposite standpoint. For her, previous knowledge is not necessary. However, as seen from a cognitive narratology perspective, the analyses will show how previous knowledge can evoke images of passing time, even in a single picture.The ‘Illustrated Handscrolls of the Tale of Genji’ (‘Genji monogatari emaki’) are based on ‘Genji monogatari,’ a literary work written at the beginning of the eleventh century by Murasaki Shikibu. The handscrolls were manufactured between approximately 1120 and 1140. This paper scrutinizes certain relationships between the literary work and the excerpts contained in the handscrolls as well as the relationships between the textual excerpts and the pictures of the handscrolls. The leading question of the examination is the extent to which the description of time is included in the excerpts and pictures, and how this sheds light on the problem of ‘potentially narrative paintings.’ These issues will be discussed by taking the hypotheses of two Japanese scholars into account. While Sano Midori claims that an adequate reception of the handscrolls requires the knowledge of the original text, Shimizu Fukuko takes the opposite standpoint. For her, previous knowledge is not necessary. However, as seen from a cognitive narratology perspective, the analyses will show how previous knowledge can evoke images of passing time, even in a single picture