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Yoko Tawada Und Ingeborg Bachmann

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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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    elizaBetH MCNeill university of Michigan Writing and Reading (with) Polar Bears in Yoko Tawada’s Etüden im Schnee (2014)* Wir betraten tatsächlich ein sphäre, die sich zwischen der der tiere und der der Menschen befand. (Etüden im Schnee 129) in 2016, the kleist Prize was awarded to the Japanese-born yoko tawada, a writer well known in both Japan and Germany for her questioning of national, cultural, and linguistic identities through her distinctly playful style. to open the ceremony, Günter Blamberger reflected on tawada’s adaptations of themes in Heinrich von kleist’s work. Blamberger specifically praised both authors’ creation of liminal beings who not only pass through, but make obsolete the “Grenzen zwischen sprachen, schriften, kulturen, religionen, ländern, zwischen Vergangenheit und Gegenwart, Mensch und tier, leben und tod” (4). He then highlighted a sample of tawada’s art of transformation, her 2014 novel Etüden im Schnee (translated as Memoirs of a Polar Bear in 2016), which features the narrative voices of three polar bears, much in the style of e.t.a. Hoffmann’s Lebensansichten des Katers Murr (1819) and franz kafka’s “ein Bericht für eine akademie” (1917). Upon consid- ering kleist’s use of the bear in his texts, Blamberger simply characterized tawada’s bears as friendly animals who want to understand—and not eat—their human companions. for Blamberger, tawada gives voice not just to these three border-crossing bears and their “Bärensprache,” but more generally to “Misch- und zwischenwesen” in practicing her own migrational literary theory of culture and communication (4). the resulting “Poetik des Dazwischen, der zwischen- zeiten und zwischenräume” foregrounds the metamorphic, even evolutionary, process at work in moving between languages, spaces, cultures, and forms (5).
  • The Future of Text and Image

    The Future of Text and Image

    The Future of Text and Image The Future of Text and Image: Collected Essays on Literary and Visual Conjunctures Edited by Ofra Amihay and Lauren Walsh The Future of Text and Image: Collected Essays on Literary and Visual Conjunctures, Edited by Ofra Amihay and Lauren Walsh This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Ofra Amihay and Lauren Walsh and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3640-0, ISBN (13): 978-1-4438-3640-1 TABLE OF CONTENTS Preface....................................................................................................... vii Introduction ................................................................................................. 1 Image X Text W. J. T. Mitchell PART I: TEXT AND IMAGE IN AUTOBIOGRAPHY Chapter One............................................................................................... 15 Portrait of a Secret: J. R. Ackerley and Alison Bechdel Molly Pulda Chapter Two.............................................................................................. 39 PostSecret as Imagetext: The Reclamation of Traumatic Experiences
  • MATTERS of RECOGNITION in CONTEMPORARY GERMAN LITERATURE by JUDITH HEIDI LECHNER a DISSERTATION Presented to the Department Of

    MATTERS of RECOGNITION in CONTEMPORARY GERMAN LITERATURE by JUDITH HEIDI LECHNER a DISSERTATION Presented to the Department Of

    MATTERS OF RECOGNITION IN CONTEMPORARY GERMAN LITERATURE by JUDITH HEIDI LECHNER A DISSERTATION Presented to the Department of German and Scandinavian and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2015 DISSERTATION APPROVAL PAGE Student: Judith Heidi Lechner Title: Matters of Recognition in Contemporary German Literature This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of German and Scandinavian by: Susan Anderson Chairperson Michael Stern Core Member Jeffrey Librett Core Member Dorothee Ostmeier Core Member Michael Allan Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2015 ii © 2015 Judith Heidi Lechner This work is licensed under a Creative Commons Attribution-NonCommercial-NoDervis (United States) License. iii DISSERTATION ABSTRACT Judith Heidi Lechner Doctor of Philosophy Department of German and Scandinavian September 2015 Title: Matters of Recognition in Contemporary German Literature This dissertation deals with current political immigration debates, the conversations about the philosophical concept of recognition, and intercultural encounters in contemporary German literature. By reading contemporary literature in connection with philosophical, psychological, and theoretical works, new problem areas of the liberal promise of recognition become visible. Tied to assumptions of cultural essentialism, language use, and prejudice, one of the main findings of this work is how the recognition process is closely tied to narrative. Particularly within developmental psychology it is often argued that we learn and come to terms with ourselves through narrative.
  • Reflections on Exophonic Strategies in Yoko Tawada's Schwager in Bordeaux Flora Roussel

    Reflections on Exophonic Strategies in Yoko Tawada's Schwager in Bordeaux Flora Roussel

    Nomadic Subjectivities: Reflections on Exophonic Strategies in Yoko Tawada’s Schwager in Bordeaux Flora Roussel Department of World’s Literatures and Languages University of Montreal Pavillon Lionel-Groulx, C-8 3150 rue Jean-Brillant Montreal H3T 1N8 Quebec, Canada E-mail: [email protected] Abstract: The author Yoko Tawada is well known for her exophonic and experimental work. Writing in German and in Japanese, she joyfully plays with questions of identity, nation-state, culture, language, among other. As exophony in theory and practice is at the center of each of her novels, it thus appears interesting to look closer to the strategies Tawada develops in order to disturb and subvert categorizations. Taking Schwager in Bordeaux as a case study, this paper intends to analyze how Tawada’s exophony de/construct subjectivity. It will first put light on the very concept of exophony, before leaving the space for a close reading analysis of the novel on two specific aspects: dematerialization and rematerialization, which both will aim to draw an exophonic portrait of nomadic writing through its focus on subjectivity. Keywords: Exophony, Subjectivity, Language, Yoko Tawada, Schwager in Bordeaux. Introduction: Marking the Subject/s In response to being asked why she writes not only in German, but also in Japanese, Yoko Tawada [多和田葉子/Tawada Yōko] explains: “I am a bilingual being. I don’t know why exactly, but, for me, it’s inconceivable to stick to only one language.” (Gutjahr 2012, 29; my translation)1 In her portraying a subjectivity navigating offshore, that is, away from monolingualism, the author has created an impressive body of work: since 1987, she has published more than 55 books – approximately half of which are in German, and performed 1170 readings around the world (Tawada 2020, online).