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1. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Marco Agnetta Zur Translation als Performance mit Texten
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The chief aim of this essay is to propose the idea that one should not see texts as artifacts detached from the world of life, but as partaking of the performances thanks to which individuals and collectives define themselves in everyday life. Texts, as Stolze (2003: 174) points out, are an integral part of a highly dynamic “Mitteilungsgeschehen”. Translations can be seen as ‘communicative events’ in two ways: as a dialogue between the original text and the translator, and also as an interaction between the translator and the recipients via the target text. At issue, this essay argues, is the key notion of performativity. In order to demonstrate the importance of such a notion, some characteristics of performativity, such as those compiled by Fischer-Lichte (2004 and 2012), will be described in relation to translational activity. References to the contributions in the present volume are intended to show the extent to which the questions surrounding translation as performance are interrelated.
2. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Radegundis Stolze Perspektive – Textperformanz – Resonanz
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Translating means accepting a text as a culture-based message, understanding it and communicating it in another language, so that readers who are not proficient in the source language can also take note of the original message and, if necessary, react to it. Sociological models like systems theory and social difference theory can be mentioned in this regard, but they analyse factors that establish communication as a system working independently of the translating person. The sociology of a person’s world-relationship, so to speak, reflects the import of her actions in a given society in terms of a relationship between the subject and its environment. This is symbolic of the translator’s intrinsic interest in the message in her relation to the texts, and in the relation between such texts and different cultures. To refer to the translator is to refer to her as a subject who acts with cognition, acknowledges social embedding, and asserts her individualism. Understanding means being addressed by the voice in a text concerning the specific content. The understanding of texts as a basis for translation is determined by the hermeneutic circle and the individual’s subjective knowledge, while undertaking a translation requires rhetorical proficiency in literary and functional styles. All this comes together in a hermeneutic translational competence which is built up by various dimensions of knowledge and abilities. The task is to establish a hierarchy of important aspects for every single text that is under translation.
3. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Alberto Gil Fidélité créatrice als performative Größe und die Beziehung zwischen Hermeneutik und Kreativität in der Translation
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Performance plays a decisive role in both everyday and artistic communication because it is always important to achieve effects. The question of the nature of this effect touches on central aspects of knowledge in general, i. e. whether it is about the realisation of a personal view of reality or whether reality itself realises its effect with the help of the transmitter. The classical concept of mimesis (i. e. the effort to imitate nature) strikes a balance between the subjective and the objective side of truthfinding. In translation studies, too, the concept of performance plays a central role, since every translation is in principle an assignment that is given specifically, with certain objectives. From a translatological point of view, one term of modern philosophy, or more precisely a term coined by Gabriel Marcel, proves to be particularly fruitful for this: fidélité créatrice. Faithfulness to the original is not strict reproduction, but rather the constant updating of essential elements in the service of a goal to be achieved. In this article, the translational performance thus understood will be presented in three variations and illustrated by means of examples. Firstly, it will be a matter of recognizing the performance of the original and trying to ‘effect’ it anew. Secondly, the performance underlying the multiple translation, which corresponds to new and changed intentions, will be examined. Thirdly, translation is to be seen as the performance of a translator as an individual who ‘puts his or her own stamp’ on it. It will be recognized that by orienting oneself towards the concepts of mimesis and fidélité créatrice, fidelity to the original in terms of an active search for deeper layers of its meaning is not only of hermeneutical significance, but also unfolds a relevant performative power.
4. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Bernd Stefanink Überlegungen zur hermeneutischen Terminologie und zur Aufgabe des Übersetzers vor dem Hintergrund der Performanz
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Many representatives of the hermeneutical approach in Translation Studies complain about the lack of consideration for their undertaking. One of the reasons seems to be the lack of coherence and clarity in their terminology. Another reason might be the lack of group cohesion. Based on my long-lasting correspondence with the main representative of translational hermeneutics, Radegundis Stolze, as well as on my review of her books, the following paper examines both the revelatory and heuristic role played by terminology, which we think to be of major importance in the framing of a theory in human sciences. The importance of that role informs my own account of the introduction of a new term and the role it is also meant to play. Specifically, what is at issue is the term „performance” and what it suggests as to this role in pragmatic texts. With regard to group cohesion, it invites us to have a better, group-based, internal communication (as is exemplified in my intensive mail exchange with Stolze and in my book reviews), in order to close ranks and speak with a more coherent hermeneutical voice. This implies, for instance, a wider use of cross-references which should not be limited to texts in English or German. It also implies a recognition of the scientific status of book reviews, which should be considered as the author’s partnerin an epistemological (erkenntnisfördernd) dialogue, similar to the conversation envisaged by Gadamer, the aim of which would be to promote and deepen mutual comprehension.
5. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Lavinia Heller Translatorische Treue und philosophische Freiheit. Ein praktisches Beispiel übersetzerischer Performanz
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Given the widespread tendency to celebrate the openness of meaning maintained by texts, it can come as a surprise to hear philosophers expressing a certain skepticism with regard to translational sense-making. This distrust often manifests itself in negative metaphors – many of which are appreciably material metaphors – which describe translation as the ‘distortion’ of the original. This parti pris against translation problematizes the form-taking and form-giving character of translation. With recourse to the concept of performance supplied by Cultural Studies, this article aims to bring the dimension of the materiality of translation, which is too often treated in a merely metaphorical fashion, into analytical view. But not in order to confirm that materiality as an obstacle, as so many pejorative metaphors concerning the ‚deformation’ effected by translation suggest, so much as to show, on the contrary, how materiality and performance can be a heuristic impulse, and offer an important resource for translational creativity.
6. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Larisa Cercel Die Performanz der translatorischen Wörtlichkeit. Am Beispiel Paul Celans
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This essay discusses translational literalism, but not – as is usually the case in translation theory – by way of the assertion that such literalism is the antithesis of the liberated creativities of expressive translation, but in terms of the proposition that translational literalism can be regarded as a special form of performance. Two main questions are addressed here: firstly, what does translational literalism do? Secondly, do the syntactic and semantic reproductions in translation achieve the same effect as in the original? In view of these questions, the purpose of this essay is to analyse a literal translation by Paul Celan of a text by Jules Supervielle, and to reveal the paradoxical nature of the principle of literalism: translational literalism, particularly when undertaken with the artistry of Celan, can be a linguistically and poetically creative act – and in that case, it is hardly to be dismissed as merely pedestrian reproduction.
7. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Marco Agnetta Übersetzung und Bearbeitung als Anamorphose. Zum kreativen Potenzial sprachlicher Um- und Wiederformung
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Throughout the centuries, optical metaphors have been used to describe translation. The present study tries to show the extent to which the phenomena of translation and adaptation can be regarded as anamorphic processes that benefit the creation of new meaning. At issue, in this regard, are the following questions: what role should one ascribe to the (unconscious or intentional) change in perspectival play in translation or adaptation? Who benefits from this change of viewpoint? In order to answer these questions and illustrate the matters concerned, this essay attends to the practice of libretto translation as well as to certain excerpts from Alessandro Baricco’s reflections on his Italian version of the Iliad (2004).
8. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Christian Hild „Es sind ja nicht Lesewort, sondern Lebewort drinnen“ (Martin Luther). Ein protestantischer Beitrag zur performanzorientierten Schriftauslegung
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Martin Luther emphasized the vitality of the Word of God as a “word of life” (“Lebewort”) on the grounds that one of its characteristics is that it be heard and used by people. This is how the Reformer deliberately distinguished himself from the Pope’s sole authority to interpret the Holy Scripture – the Pope who reduced the Word of God to a “reading word” (“Lesewort”), and thereby suppressed its inherent performativity, preventing the Word of God from reaching people. On the one hand, Luther’s perspective valuably brings to light the text performance of the writings of the Old and New Testament, and on the other hand, gives us the opportunity to draw attention to the topicality and “life” (or „livingness”) of the Word of God. For Protestant religious education focuses on this living vitality in order to mitigate the increasing alienation of students from the language of Holy Scripture by means of a stress on the performative uses of the Word of God.
9. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Christian Hild, Juan Rego Ökumenische Performance
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This paper aims to explore both the textual performance and the cultural transfer of the Word of God from a Protestant (Christian Hild) and Catholic perspective (Juan Rego). Building on Pope Benedict XVI’s post-synodal apostolical exhortation Verbum Domini (§ 53), the variety of ritual performances of the Word will be analysed in terms of an “ecumenical performance” in order to explore the common theological foundation of both confessions
10. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Juan Rego „Übersetzungsverfahren“. Zum Verhältnis von Ereignis und liturgischer Performanz
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“Do this in memory of me” (Luke 22, 19). Christ ‘translated’ the gift of his whole life into a ritual program (“do this”) which he asked his disciples to enact. As early as 1925, Romano Guardini (1885–1968) understood the ritual form of the Eucharist as a ritual transposition of the form of Christ’s life. He foresaw, limited as he was as a pioneer nonetheless, a dimension of the liturgy that liturgical studies would subsequently investigate using categories such as performance, Inszenierung or mise en scène. In this sense, the liturgical drama has an illocutionary and performative quality both in continuity and in discontinuity with other religious performances.
11. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Christian Klees, Christoph Kugelmeier Von der Rezitation auf die Bühne. Ein übersetzungstheoretischer Werkstattbericht zu zeitgenössischen deutschen Theaterversionen von Senecas Tragödien
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Seneca’s dramas brood in the shadows of the Attic tragedies, which are frequently played in theatres all over the world. To this day, it is controversial whether Seneca’s plays were intended for the stage or only for recitation. But the enormous after-effect of these texts in the literature devoted to European theatre (above all in Shakespeare) shows that they themselves are not only part of our cultural heritage, but that it is worthwhile to consider how one might propose a more contemporary staging of these works in order to afford an authentic reception for the first time – and indeed, for a broader public. Admittedly, the texts can and will only find a larger audience if Seneca’s recitation dramas are brought to the contemporary stage in a form and language appropriate to this audience. In a project undertaken by Saarbrücken Classical Philology since 2011, for the first time directly playable German translations are to be produced for this purpose. These take into account the dramaturgical peculiarities of the plays by negotiating between philological considerations and the requirements of performance itself. At the same time, philologically flawless translations of the Latin text into German emerge as the crux of the matter. The present essay will discuss this multiplex process of translation on the basis of an example already tested in a stage performance and in the light of various theories of translation
12. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Johannes Kandler Mäandernde Semantiken. Der Ludus Danielis als intermediales Übersetzungsmodell?
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The Ludus Danielis, a spiritual game in the Latin language from the late 12th century, is not only a stroke of luck from the point of view of music history, but also from the point of view of media theory. Completely preserved and thoroughly composed through, it represents the possibility of systematically analysing questions such as the specific relationship between the media involved – text and music or melody. Translations inevitably come into view: from text to melody and vice versa. With the help of the monophonic solo song “Surge frater” from the Ludus Danielis, this essay will examine the translation processes in terms of Pierce’s sign types. At issue will be the exercise to carry out a categorical trace-back of text and melody (space, time, movement). A condition for this seems to be a specific semantic momentum of its own in both media, which, in the case of the formation of coherent statements by the interpreter, reveals itself as interference with increasing performative potentials.
13. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Michael Seibel, Georgios P. Tsomis Ansätze einer Phänomenologie der Performativität von (Musik-)Theatertexten am Beispiel der Übertragung des Singspiels „Die Entführung aus dem Serail“ von W. A. Mozart ins Griechische
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Western theatre production processes are historically characterized by their logos-centered approach. Therefore, the text is the starting point of all creative work. In this context, the theatrical text, as a literary phenomenon, is at the forefront of the action, whereby the “performance” of the text within a performance itself is often only perceived as a “disturbing” accessory. If, however, one entertains phenomenological thoughts in relation to the aesthetic production processes in theatre, one does not refer explicitly and exclusively to a text as a mental, cognitive construction of sense and meaning; rather, one extends the aesthetic working process to all the parameters involved in the interrelated theatre production process. The resulting theatrical expression is more than just logos in the form of a text. It is logos in an extended sense, which in turn can be perceived and experienced bodily, as well as sensually by the recipient. As a consequence, the theatre artist is offered new approaches to the performative understanding of a theatrical text. In this context, such a purposeful observation and perception of a particular appearance is of decisive importance. On the basis of these phenomenological considerations for the presentation of a theatre text on stage, we examine the libretto of W. A. Mozart’s “The Abduction from the Seraglio” in order to show how a translation of the spoken dialogues (prose) of this Singspiel into Greek allows the Greek-speaking audience a performative approach to the text.
14. Text Performances and Cultural Transfer/Textperformancesund Kulturtransfer: Year > 2021
Jasmin Pfeiffer Lektüre und Performativität. Materialitäten fiktionaler Texte zwischen Semantik und Sinnlichkeit
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Over the past few years, the humanities has developed a strong interest in the material aspects of all domains of human life. In this context, researchers have started paying attention to the performative dimensions of reading: in order to interact with a text, the readers have to position their bodies in a certain way, they have to touch the cover of the book, turn the pages etc. Furthermore, texts are usually part of larger communicative and cultural contexts which frame our interactions with them. Based on this theoretical background, the present essay examines how those performative elements not only influence our reading experience, but can also take part in the constitution of meaning and thereby alter our interpretation of the text. At issue will firstly be a comparison between the manuscript of Victor Hugo’s Les Travailleurs de la mer and the printed version of the publishing house LGF and the exercise to demonstrate that the paper used for the manuscript possesses a high semantic and symbolic value. Secondly, by using the example of E. T. A. Hoffmann’s Lebens-Ansichten des Kater Murr, what is at stake is how fiction extending beyond the borders of the ‘original’ text, and including other artifacts, can offer new interpretive dimensions
15. Thinking in Dialogue with Humanities: Year > 2011
Tatiana Shchyttsova Der Geburtskomplex. Existential-phänomenologische Interpretation des Mythos von Ödipus
16. Thinking in Dialogue with Humanities: Year > 2011
Martin Nitsche Die Topologie des Seins im Spätwerk Merleau-Pontys
17. Thinking in Dialogue with Humanities: Year > 2011
Taťana Petřičkova Die Geste des Malers, die die Welt erlöst
18. Thinking in Dialogue with Humanities: Year > 2011
Witold Marzeda Phänomenologie als sprachliche Wissenschaft bei Merleau-Ponty
19. Translational Hermeneutics: Year > 2015
20. Translational Hermeneutics: Year > 2015
Vera Elisabeth Gerling Übersetzung und moderne Hermeneutik bei Valery Larbaud
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Long before the instauration of hermeneutical translation studies in the 1970s, understanding was considered a prerequisite for translation. Valery Larbaud’s (1881-1957) opus represents an outstanding example for this. It is mainly in his book Sous l’invocation de Saint Jérôme (1946), a collection of short multifaceted works, where the author argues for employing a modern approach to hermeneutical translation theory avant la lettre. For Larbaud, translation constitutes an intellectual, selfreliant work of writing, and it is also a research activity