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Seminararbeit: Qmet View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES MAGISTERARBEIT Titel der Magisterarbeit Das zeitgenössische deutschsprachige Haiku: Imitation oder eigenständige Dichtung? Analyse eines Kulturtransfers Verfasserin Karin Dögl Bakk. phil. angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 066 843 Studienrichtung lt. Studienblatt: Magisterstudium Japanologie Betreuerin: Dr. Ingrid Getreuer-Kargl, Ao. Univ. Prof. - - 2 Ich möchte mich bei Eveline Dögl, Lennart-Pascal Hruška, Georges Hartmann, Dietmar Tauchner und meiner Betreuerin Frau Prof. Ingrid Getreuer-Kargl für ihre unermüdliche Unterstützung und aufmunternden Worte herzlich bedanken. かたつむり そろそろ登れ 富士の山 （小林一茶） - - 3 Inhaltsverzeichnis Technische Hinweise .................................................................................................................. 5 Abkürzungsverzeichnis .............................................................................................................. 5 Verzeichnis japanischer Ausdrücke ........................................................................................... 5 1 Einleitung .......................................................................................................................... 8 2 Problemstellung .............................................................................................................. 11 2.1 Die Theorie des Kulturtransfers ................................................................................. 14 2.2 Methode ...................................................................................................................... 16 2.3 Hypothese ................................................................................................................... 19 3 Einführung - Kulturspezifische Probleme bei der Definition von Haiku ....................... 20 3.1 Alltägliche Definition ................................................................................................. 21 3.2 Definitionen der Haikugesellschaften ........................................................................ 30 3.3 Vergleichende Gegenüberstellung ............................................................................. 32 4 Geschichte des deutschsprachigen Haiku ....................................................................... 35 4.1 Die Anfänge des Haiku: 1900 - 1960 ......................................................................... 38 4.1.1 Übersetzer ......................................................................................................... 38 4.1.2 Dichter .............................................................................................................. 45 4.2 Die Entwicklung des deutschsprachigen Haiku: 1960 - 1988 ................................... 50 4.3 Zwischenstand ............................................................................................................ 56 4.4 Die Gründungszeit der Deutschen Haikugesellschaft: 1988 - 2003 .......................... 57 4.5 Das moderne deutschsprachige Haiku: 2003 – bis heute ........................................... 62 4.5.1 Die deutschsprachige Internetszene .................................................................. 62 4.5.2 Veröffentlichungen in Papierform .................................................................... 64 4.5.3 Weitere Aktivitäten ........................................................................................... 65 4.5.4 Definitionsvarianten ......................................................................................... 67 4.6 Abschließende Bemerkungen ..................................................................................... 71 5 Experteninterviews ......................................................................................................... 72 5.1 Einzelinterviews ......................................................................................................... 73 5.1.1 Ralf Bröker – Die Jugendabteilung der DHG ................................................... 74 5.1.2 Claudia Brefeld – Die Engagierte ..................................................................... 75 5.1.3 Jochen Hahn-Klimroth – Der Pessimist ........................................................... 77 5.1.4 Dietmar Tauchner – Der Internationale ............................................................ 78 5.1.5 Georges Hartmann – Der Schwermütige .......................................................... 80 5.1.6 Rita Rosen – Die Ästhetin ................................................................................ 82 - - 4 5.1.7 Maria Pohlmann – Die Individualistin ............................................................. 83 5.2 Zusammenfassende Darstellung ................................................................................. 84 5.2.1 Der geschichtliche Aspekt und die Schwierigkeiten einer Definition .............. 85 5.2.2 Der Aspekt des Kulturtransfers ........................................................................ 87 5.2.3 Die gegenwärtige deutschsprachige Haiku-Szene ............................................ 88 6 Ergebnisse ....................................................................................................................... 93 6.1 Übertragung und Imitation .............................................................................................. 94 6.2 Adaption .......................................................................................................................... 96 6.3 Interpretation ................................................................................................................... 97 6.4 Produktive Rezeption ...................................................................................................... 98 7 Zusammenfassung ........................................................................................................ 100 Literaturverzeichnis ................................................................................................................ 102 Anhang ................................................................................................................................... 111 Abstract .................................................................................................................................. 168 Lebenslauf .............................................................................................................................. 169 - - 5 Technische Hinweise Japanische Begriffe werden nach der Hepburn-Umschrift transkribiert. Bei japanischen Namen steht der Nachname an erster Stelle. Bekannte Städtenamen (Tokyo, Osaka, Kyoto usw.) werden im Haupttext, sofern es sich nicht um die Transkription eines japanischen Eigennamens, in dem sie vorkommen, handelt, ohne Längungsstrich geschrieben. Alle Übersetzungen stammen, wenn nicht anders angegeben, von der Autorin selbst. Japanische Begriffe werden, sofern es sich nicht um Organisationen oder Eigennamen handelt, kursiv und klein geschrieben. Bei der ersten Nennung eines japanischen Begriffes wird dieser übersetzt beziehungsweise erklärt. Japanische haiku werden in folgender Reihenfolge angegeben: 1. Original- Schriftzeichen, 2. Transkription, 3. grammatikalische Erklärung, 4. deutsche Übersetzung, 5. Lebensdaten des Dichters, 6. Angaben zum Übersetzer, 7. bibliografischer Verweis. Die deutsche Übersetzung stammt ebenfalls, falls nicht anders angegeben, von der Autorin selbst. Abkürzungsverzeichnis DACH = Deutschland, Österreich, Schweiz DHG = Deutsche Haiku Gesellschaft GHK = Gendai Haiku Kyōkai HIA = Haiku International Association MHA = Modern Haiku Association Verzeichnis japanischer Ausdrücke Gedichtformen: waka 和歌 japanische Gedichte (tanka, naga·uta, sedō·ka etc.). (insbes.) tanka (das 31-silbige japanische Gedicht). chōka 長歌 Langgedicht tanka 短歌 Kurzgedicht beziehungsweise 31-silbiges japanisches Gedicht (5-7-5-7-7) renga 連歌 japanisches Kettengedicht; Kettendichtung (Strophen mit 17 Silben und Versen im Silbenrhythmus 5–7–5 wechseln sich mit - - 6 solchen mit 14 Silben und dem Rhythmus 7–7 ab; meist 36, 50, 100 oder 1000 Strophen) haikai 俳諧 ursprüngliche, humoristische Form des haiku hokku 発句 Einleitungsvers eines waka oder renga haiku 俳句 17-silbiges japanisches Gedicht mit einem Schema von 5-7-5 Silben gendai haiku 現代俳句 modernes, zeitgenössisches haiku gendaiteki 現代的 modern dentōteki 伝統的 traditionell shintaishi 新体詩 wörtl. Gedichte neuerer Form; jap. Gedichte, die von westlichen Poesieformen beeinflusst worden waren, Hauptwerk: shintaishi-sho (1882) Jahreszeitenwort: shiki no kotoba 四季の言葉 Wörter der vier Jahreszeiten, Bezeichnung des Jahreszeitenwortes bis zur Edozeit kidai 季題 Jahreszeitenthema beziehungsweise -wort, ab 1900 gebräuchlich kigo 季語 Jahreszeitenwort, Begriff von Ōsuga Otsuji (1881-1920) geprägt kikan 季感 Jahreszeitenbindung muki haiku 無季俳句 haiku ohne Jahreszeitenbezug kiiwādo キーワード Schlüsselwort, Alternativbezeichnung für Sammlung neuer Themen im modernen haiku neben den traditionellen kigo saijiki 歳時記 Jahreszeitenwörter-Glossar für die haiku-Dichtung hon’i 本意 eigentlicher Sinn eines kigo, meist nach künstlerisch-ästhetischen Prinzipien Silbenzählung: hakuon 拍音 Mora tōjisei hakuon 等時性拍音 Gleichmäßige Aufteilung der Phonographie (1 Phonem steht für 1 Graphem) kisū-hakuon 奇数拍音 ungerade Morenzahl zum Beispiel 17 Silben im haiku sokuon 促音 gespannter Laut yōon 拗音 gebrochener Laut gojūonzu
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