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Yoko Tawada Und Ingeborg Bachmann

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Yoko Tawada Und Ingeborg Bachmann View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit YOKO TAWADA UND INGEBORG BACHMANN Das Bild der Übersetzerinnen in ausgewählten Texten von Yoko Tawada und Ingeborg Bachmann in Bezugnahme der Poetik und der theoretischen Schriften von Yoko Tawada. Verfasserin Maria Seisenbacher angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 393 Studienrichtung lt. Studienblatt: Vergleichende Literaturwissenschaft Betreuerin: Univ.-Ass. Dr. Barbara Agnese Für 母 und 姉 Ich bedanke mich für die Betreuung meiner Diplomarbeit bei Frau Dr. Barbara Agnese sowie bei Frau Dr. Christine Ivanovic für die zahlreichen Informationen, Gespräche und Hilfestellungen zum Werk und zur Poetik von Yoko Tawada. Ich bedanke mich auch bei allen Vortragenden des internationalen Tawada-Workshops „Mind the Gap – Die Lücke im Sinn“, der im März 2011 in Wien stattgefunden hat, für ihre Anregungen und Impulse. Weiterer Dank gilt Sarah Legler und Hermann Niklas für die Lektoratsarbeit und Unterstützung. Die Fertigstellung dieser Arbeit wurde von den Ereignissen des Bebens, des darauffolgenden Tsunamis und des Atomreaktorumfalls in Japan im März 2011 überschattet. Die Arbeit soll und kann zwar nicht als Gedenken gelesen werden, aber als Gedanke für verantwortliche Verbundenheit. 1 Der fremde Blick ist alt, fertig mitgebracht aus dem Bekannten. Er hat mit dem Einwandern nach Deutschland nichts zu tun. Fremd ist für mich nicht das Gegenteil von bekannt, sondern das Gegenteil von vertraut. Unbekanntes muß nicht fremd sein, aber Bekanntes kann fremd werden. Herta Müller (Der König verneigt sich und tötet) 2 Siglenverzeichnis Die Texte Ingeborg Bachmanns und Yoko Tawadas werden mit folgenden Siglen zitiert. Seitenzahlen werden in arabischen Ziffern zitiert. IB, W, Bd. I Bachmann, Ingeborg: Werke. Erster Band: Gedichte, Hörspiele, Libretti, Übersetzungen. Christine Koschel / Inge von Weidenbaum / Clemens Münster (Hg.), 5. Auflage (zuerst 1978), München: Piper 1993. IB, W, Bd. III Bachmann, Ingeborg: Werke. Dritter Band. Todesarten: Malina und unvollendete Romane. Christine Koschel / Inge von Weidenbaum / Clemens Münster (Hg.), 5. Auflage (zuerst 1978), München: Piper 1993. IB, W, Bd. IV Bachmann, Ingeborg: Werke. Vierter Band. Essays, Reden, Vermischte Schriften, Anhang. Christine Koschel / Inge von Weidenbaum / Clemens Münster (Hg.), 5. Auflage (zuerst 1978), München: Piper 1993. IB, TA, Bd. IV Bachmann, Ingeborg: „Todesarten“-Projekt. Kritische Ausgabe. Band IV. Der „Simultan“- Band und andere späte Erzählungen. Unter Leitung von Robert Pichl. Monika Albrecht / Dirk Göttsche (Hg.). München, Zürich: Piper 1995. IB, KS Bachmann, Ingeborg: Kritische Schriften. Monika Albrecht / Dirk Göttsche (Hg.), München, Zürich: Piper 2005. YT, ND Tawada, Yoko: Nur da/wo du bist/da ist nichts. Aus dem Japanischen von Peter Pörtner. 3. Auflage, Tübingen: Konkursbuch Verlag 1987. YT, DB Tawada, Yoko: Das Bad. Aus dem Japanischen von Peter Pörtner. 3. Auflage (zuerst 1989), Tübingen: Konkursbuch Verlag 1993. YT, EU Tawada, Yoko: Wo Europa anfängt. Übersetzungen von Peter Pörtner. Tübingen: Konkursbuch Verlag 1991. YT, EG Tawada, Yoko: Ein Gast. Tübingen: Konkursbuch Verlag 1993. YT, TM Tawada, Yoko: Talisman. Japanische Übersetzungen von Peter Pörtner. 5. Auflage, Tübingen: Konkursbuch Verlag 1996. YT, VL Tawada, Yoko: Verwandlungen. Tübinger Poetik-Vorlesungen. 2. Auflage (zuerst 1998), Tübingen: Konkursbuch Verlag, 2001. 3 YT, SS Tawada, Yoko: Spielzeug und Sprachmagie in der europäischen Literatur. Eine ethnologische Poetologie. Tübingen: Konkursbuch Verlag 2000. YT, OV Tawada, Yoko: Opium für Ovid. Ein Kopfkissenbuch von 22 Frauen. Tübingen: Konkursbuch Verlag 2000. YT, ÜS Tawada, Yoko: Überseezungen. Tübingen: Konkursbuch Verlag 2002. YT, SG Tawada, Yoko: Saint George and the Translator. In: Facing the Bridge. Translated by Margaret Mitsutani. New York: New Directions Books 2007. YT, SP Tawada, Yoko: Sprachpolizei und Spielpolyglotte. Tübingen: Konkursbuch Verlag 2007. YT, AG Tawada, Yoko: Abenteuer der deutschen Grammatik. Gedichte. Tübingen: Konkursbuch Verlag 2011. GI Koschel, Christine / Weidenbaum, Inge von (Hg.): Ingeborg Bachmann: Wir müssen wahre Sätze finden. Gespräche und Interviews. 3. Auflage (zuerst 1983), München: Piper & Co 1991. KU Koschel, Christine / Weidenbaum, Inge von (Hg.): Kein objektives Urteil – nur ein lebendiges. Texte zum Werk von Ingeborg Bachmann. München: Piper 1989. BH Albrecht, Monika / Göttsche, Dirk (Hg.): Bachmann Handbuch. Leben – Werk – Wirkung. Stuttgart, Weimar: Metzler, 2002. PT Ivanovic, Christine (Hg.): Yoko Tawada. Poetik der Transformation. Beträge zum Gesamtwerk. Mit dem Stück Sancho Pansa von Yoko Tawada. Tübingen: Stauffenburg 2010. 4 INHALTSVERZEICHNIS 1 VORWORT 8 2 YOKO TAWADA 10 2.1 Theoretische Schriften 10 2.1.1 Tübinger Poetik-Vorlesungen 10 2.1.1.1 Stimme eines Vogels oder das Problem der Fremdheit 11 2.1.1.1.1 Fremde Stimmen und Sprachen 12 2.1.1.1.2 Körperlichkeit der Sprache 13 2.1.1.1.3 Vogelsprache in Literatur und Musik 13 2.1.1.2 Schrift einer Schildkröte oder das Problem der Übersetzung 15 2.1.1.2.1 Ideogramme und Alphabet im Vergleich 15 2.1.1.2.2 Literarische Übersetzungen 18 2.1.1.2.3 Die Träume von der Schrift 20 2.1.1.3 Gesicht eines Fisches oder das Problem der Verwandlung 20 2.1.1.3.1 Wo beginnt das Gesicht eines Fisches und wo endet es? 21 2.1.1.3.2 Der Spalt zwischen Gesicht und Ich 21 2.1.1.3.3 Verwandlungen 23 2.1.2 Spielzeug und Sprachmagie. Eine ethnologische Poetologie 24 2.1.2.1 Die Verortung der Magie 26 2.1.2.2 Ethnologische Poetologie 27 2.1.2.3 Die Schrift der Objekte 30 2.1.2.4 Magie der Oberflächen 32 2.2 Die Poetik von Yoko Tawada 33 2.2.1 Europa als Mythos 35 2.2.2 Übersetzung 38 2.2.3 Verwandlung und Mimesis 42 2.2.4 Innen/Außen – die Dezentrierung des Ich 44 2.2.5 Polyphonie 46 2.3 Verortung der Texte Yoko Tawadas 47 2.3.1 Übersicht von Literaturgattungen in Bezug auf das Schreiben von Autor(inn)en außerhalb ihrer Muttersprache 48 2.3.2 Hybridität in der Literatur 51 2.3.3 Surreale Bilder und Dadaismus 53 2.3.4 Exophonie 56 5 3 DAS BILD DER ÜBERSETZERINNEN BEI YOKO TAWADA UND INGEBORG BACHMANN 59 3.1 Ingeborg Bachmann 64 3.1.1 Ingeborg Bachmann als Übersetzerin 64 3.1.2 „Simultan“ 66 3.1.2.1 Inhalt, Aufbau und Themen der Erzählung 70 3.1.2.1.1 Inhalt 70 3.1.2.1.2 Aufbau 71 3.1.2.1.3 Themen 73 3.1.2.1.4 Charakter der Übersetzerin-Figur „Nadja“ 75 3.1.3 Die Frankfurter Poetik-Vorlesungen und „Tagebuch“ in „Simultan“ 78 3.1.3.1 Frankfurter Poetik-Vorlesungen 78 3.1.3.1.1 „Simultan“ und die Frankfurter Poetik-Vorlesungen 79 3.1.3.2 Tagebuch 85 3.1.3.2.1 „Simultan“ und „Tagebuch“ 87 3.2 Yoko Tawada 88 3.2.1 „Das Bad" 88 3.2.1.1 Inhalt, Aufbau und Themen des Kurzromans 89 3.2.1.1.1 Inhalt 89 3.2.1.1.2 Aufbau 90 3.2.1.1.3 Themen 92 3.2.1.2 Charakter der Übersetzerin-Figur 99 3.2.1.3 Tawadas Poetik in „Das Bad“ 100 3.2.2 „Saint George and the Translator" 106 3.2.2.1 Inhalt, Aufbau und Themen des Romans 109 3.2.2.1.1 Inhalt 109 3.2.2.1.2 Aufbau 109 3.2.2.1.3 Themen 110 3.2.2.2 Charakter der Übersetzerin-Figur 116 3.2.2.3 Tawadas Poetik in „Saint George and the Translator“ 117 3.3 Übersetzerin-Figuren im Vergleich 121 3.3.1 Die Übersetzerin-Figuren in „Simultan“, „Das Bad“ und „Saint George and the Translator“ 123 3.3.1.1 Beruf und Element Medium 123 3.3.1.2 Die Konfrontation mit der Fremde 126 3.3.1.3 Die Sprache als Bedrohung 131 3.3.1.4 Stimmen in Raum- und Zeitverschiebungen 133 6 3.3.1.5 Die Mehrgesichtigkeit des Ichs und die Unübersetzbarkeit in der Übersetzung 135 4 NACHWORT 140 5 LITERATURVERZEICHNIS 142 5.1 Primärliteratur 142 5.2 Sekundärliteratur 144 5.3 Nachschlagewerke 153 5.4 Tonträger 153 5.5 Internetquellen 153 ANHANG 155 1. Abstract 155 2. Lebenslauf 156 7 1 VORWORT Die Querverweise zu Ingeborg Bachmann und ihrem literarischen Schaffen, die ich vor allem in europäischer Sekundärliteratur über Yoko Tawadas Texte gefunden habe, weckten mein Interesse an einem Vergleich beider Schriftstellerinnen und Literaturwissenschaftler- innen. Es zeigte sich jedoch bald, dass hierfür eine breitere Auseinandersetzung von Nöten wäre, als eine Diplomarbeit Raum bietet. Abgesehen von der Affinität zu Walter Benjamin scheinen beide Schriftstellerinnen und Literaturwissenschaftlerinnen nicht viel gemein zu haben, außer ihrer beider Professionen des Schreibens und wissenschaftlichen Arbeitens. Yoko Tawada, die 1960 in Japan geboren wurde und seit 1989 in Deutschland lebt, publiziert seit 1987 in deutscher und seit 1992 auch in japanischer Sprache. In Japan, wie auch in Hamburg, hat sie Literaturwissenschaften (auf der Waseda Universität in Tokyo mit Schwerpunkt Russische Literatur) studiert. Tawada wählte nicht nur für ihre literarischen Publikationen den Begriff „exophones Schreiben“, sondern beschäftigte sich auch in ihren Essays mit diesem Begriff. Dieser etablierte sich jedoch nur langsam in der europäischen Literaturwissenschaft. Tawadas Auseinandersetzung mit Europa und dessen Denkweise und ihre eigens entwickelte „ethnologische Poetologie“ erweisen sich als bereichernde Denkherausforderung, im Eigenen das Fremde zu erkennen. Vor allem in der Sprache findet Tawada immer Lücken und Spalten, die auf längst Vergessenes oder nicht/selten Sichtbares hinweisen, mithilfe derer sie neue Blickwinkel erschaffen will. Leider haben ihre theoretischen Schriften, vor allem ihre Dissertation, im Gegensatz zu ihrem literarischen Werk noch wenig Aufsehen in der Wissenschaft auf sich gezogen. Ingeborg Bachmann hingegen war bereits zu Lebzeiten ein Aushängeschild der österreichischen und deutschsprachigen Nachkriegsliteratur. Ihre Bemühungen und Auseinandersetzungen mit der Sprache als moralische Instanz und ihrer Aufgabe als Schriftstellerin, die Sprache von ihren Floskeln zu befreien und den damit verbundenen, an Musil anlehnenden utopischen Gedanken wurden zeitlebens oft hinter ihre Auftritte in der Öffentlichkeit gestellt.
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