13 research outputs found

    Schriftsteller als Ubersetzer : Am Beispiel des japanischen Schriftstellers Murakami Haruki

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    Murakami Haruki (村上春樹), geboren am 12. Januar 1949 in Kyoto, ist gegenwartig der meistgelesene und Ubersetzte japanische Schriftsteller weltweit. Seine Romane und Kurzgeschichten liegen Ubersetzt in mehr als dreiBig Sprachen vor and haben heute ohne Zweifel weltliterarischen Status. Japanische Literatur in Ubersetzung hat mit Murakami Haruki die Bestseller-Verkaufstische der Buchhandlungen in der Welt erobert. Die Anzahl der Sprachen, in die Murakami mittlerweile ubersetzt worden ist and seine groBe internationale Leserschaft machen ihn heute sicherlich zu einem einzigartigen Schriftsteller. Das literarische Werk Murakamis ist bis heute Gegenstand zahlreicher Diskussionen sowie wissenschaftlicher Abhandlungen gewesen. Weniger beachtet worden ist dabei jedoch Murakamis Tatigkeit als Ubersetzer. Nicht nur die imponierende Anzahl der von Murakami ubersetzten Werke, sondern vor allem die umfassenden Aussagen des Autors zum Thema Ubersetzung sollen hier einen Einblick in die Auffassung des Autors zum Ubersetzen geben. Die Arbeit ist gegliedert wie folgt: 1. Der Begriff der Ubersetzung 2. Die Verortung der Ubersetzungswissenschaft 3. Ubersetzungstheorie-ein Uberblick 4. Die Ubersetzungswissenschaft im heutigen Japan 5. Die Ubersetzungsliteratur in Japan 6. Schriftsteller als Ubersetzer 7. Murakami Haruki als Ubersetzer 8. Schlus

    Zur Theorie des filmischen Raums (Teil 1)

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    This article is the first part of a two-part text that aims to introduce film theorists who attempted to make the phenomena of cinematic space theoretically comprehensible. Hugo Münsterberg (1863-1916), Erwin Panofsky (1892-1968) and Vsevolod Pudovkin (1893-1953) were theorists who have experienced the spread of film from the beginning and have dealt with the significance of film for culture and society. The means of montage was of particular interest in early theoretical considerations because it had been recognised that the filmmaker can manipulate space and time by means of montage. Bela Balazs (1884-1949) was concerned with recognising film as popular art that creates culture which, in his view, permeates reality and contributes to the emergence of a visual culture. Walter Benjamin (1892-1940) believed that the social significance of film lies in a change in collective perception. Rudolph Arnheim (1904-2007) was interested in phenomena such as surface and depth, which he viewed from the perspective of Gestalt psychology. He emphasised the spatial autonomy of film compared to theatre, which would only be maintained as long as film did not attempt to create a second real space. For Siegfried Kracauer (1889-1966), film was always a special form of reality, which is why he was concerned with the representation of physical reality through the cinematic medium, as well as with the question of what attributes ultimately constitute a film. The article ends with a look at André Bazin's (1918-1958) understanding of cinematic space. For Bazin, who regarded the deformation of space as a fundamental characteristic of film realism, characters, objects, and events are always parts of the cinematic space. One can banish every reality from the film image, Bazin stated, except one: that of space

    Zur Theorie des filmischen Raums (Teil 2)

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    This article is the second part of a two-part text that aims to show how film scholars attempted to make the phenomena of cinematic space theoretically comprehensible. After concluding the first part with the ideas of French film theorist André Bazin, part 2 first presents the approach to space in film of Eric Rohmer (1920-2010), also from France, who not only wrote theoretical texts about film, but also made a name for himself with numerous feature films. In his theoretical writings, he attempted to establish a terminology of cinematic space with the help of which he could describe Murnau's Faust film (1926). The terms pictorial space (l̕ espace pictural), architectural space (l̕ espace architectural) and film space (l̕ espace filmique) play a central role in Rohmer’s work. In 1951, French philosopher and aesthetician Etienne Souriau (1892-1979) drew attention to the fact that accessibility to cinematic worlds is always linked to a moment of spatiality by introducing the concept of diegetic space. According to this concept, one can only enter the filmic space as far as it has been defined by the predetermined dramaturgy of the film. Only by using the category of space, Souriau emphasises, can a film be analysed at all. An important contribution by film theorist Noël Burch (1932-), who also dealt intensively with Japanese film, consisted of a definition of the "off-screen space", the space that is located outside the action space that becomes visible on the four-sided screen. According to Burch, this includes the tabooed zone of the forward, towards the viewer, as well as the depth extension of the image, where, for example, the lone rider disappears at the end of a western. American film scholars David Bordwell (1947-) and Kristin Thompson (1950-), who were primarily concerned with the narrative style of classic Hollywood films, developed the so-called neo-formalism, an art theory inspired by Russian formalism, which analyses all processes that contribute to the creation of a fictional work of art in terms of their aesthetic effect. According to Stephen Heath, spatial impressions can be created by various cinematic means, but above all they are generated by narrative moments of action (narrative space). In addition, the viewer's gaze must be framed and directed. The rules of perspective play a decisive role here. Finally, in the German-speaking world, Hans J. Wulff pursues a theoretical approach to film which, drawing on the ideas of the Russian semiotician Yuri Lotman (1922-1993), places the textual functions of space at the centre of his considerations and, in addition to cinematographic representations of space, also examines other functional circles in which cinematic spaces are integrated. Among other things, Wulff shows that spaces in film can always be interpreted as social spaces of action. German media scientist Laura Frahm has also dealt intensively with cinematic space and delivered a model of cinematic spatiality that is based on topological spatial concepts developed by Henri Lefebvre and Edward Soja, among others, and defines the cinematic construction of space as a "third position" that can be located between cinematic topology and cinematic topography

    Der japanische Film : von der amerikanischen Besatzungszeit bis zur Gegenwart

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    While my first article about Japanese cinema (published in Journal of Language and Literature, Tokushima University, 2020) ended with a brief description of the situation of Japanese film in World War 2, this article continues with the development of Japanese film during the American occupation (1945-1952). The article then moves on with an account of the Golden Age of Japanese film in the 1950s when Japanese filmmakers gained international attention for the first time. While the 1960s were a decade which still produced many film classics in Japan, at the same time a new generation of directors who grew up in postwar Japan began to reject cinematic traditions and conventions in favor of films which dealt with taboo topics and experimental approaches to cinematic narration. The article then describes the impact of the new technology of television on cinema in Japan during the 1970s and 1980s which led to the decline of the studio system and the beginning of Japanese independent filmmaking. The Japanese film industry was struggeling to keep the attention of the audience until the 1990s brought a “Second New Wave” of Japanese filmmakers who were not raised in the film industry but came from different areas like television, stand-up comedy, documentary filmmaking and experimental direct-to-video productions. These filmmakers had an innovative potential from which the Japanese film industry still benefits today

    Der japanische Film : Von der Einführung des Mediums bis zum Ende des Zweiten Weltkriegs

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    The article first covers pre-war silent film in Japan and describes the introduction of the new medium at the beginning of the 20th century. The main focus is on the relationship between Japanese silent films and traditional theater, the role of film narrators (benshi) and the attempts of Japanese filmmakers to establish film as an independent art. The article then moves on to the further development of Japanese films about historical (jidaigeki) and contemporary society (gendaigeki), containing analysis of different film genres such as Japanese tendency films (keikô eiga) which were a reaction to the worsening economic situation of large parts of the Japanese population at the end of the 1920s. The text then deals primarily with the introduction of sound in film and the further development of the Japanese film industry during the 1930s, while the counrtry underwent a political radicalization and militarization which led to the participation of Japan in World War 2. Finally, the text analyses the circumstances under which the Japanese film industry produced films during World War 2 when film production was severely restricted by the guidelines of state censorship

    Das gespaltene Ich : Zur dissoziativen Identitätsstörung literarischer Figuren in den Texten des japanischen Schriftstellers Murakami Haruki

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    Today the concept of identity is less monolithic, but only possible in a pluralistic way. Living in today's conditions is life in the plural, meaning: life in the transition between different forms of identity. The protagonists in the novels of the Japanese writer Murakami Haruki often show symptoms that can be attributed to a multiple personality. The present study deals with the division of the self of these protagonists, especially in the novel Nejimakidori Kuronikuru (1994-95). The paper refers to the concept of identity as well as to results of research about the so-called Dissociative Identity Disorder (DID) which involves problems with memory, identity, emotion, perception, behavior and sense of self

    Über den Übersetzer Murakami Haruki

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    Murakami Haruki is very well known as a popular writer in the world. But in Japan, where translation has a long history and translated literature had always a great impact on the national literature, he is also famous as a translator of works of American writers. For Murakami translation was a very important means to find his own writing style. This paper is focusing on Murakami’s role as a translator by taking a closer look at the mutual relationship of writing and translating in Murakami’s work. Murakami’s translation of J. D. Salinger’s novel “Catcher in the Rye” will serve as an important example of this relationship
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