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Über den Übersetzer Murakami Haruki
Get PDFMurakami 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.departmental bulletin pape
Das gespaltene Ich : Zur dissoziativen Identitätsstörung literarischer Figuren in den Texten des japanischen Schriftstellers Murakami Haruki
Get PDFToday 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.departmental bulletin pape
Über die Stadt Tôkyô im japanischen Kinofilm
Get PDFThis essay explores the representation of urban spaces in Japanese cinema, with a particular focus on the city of Tokyo. It examines how Tokyo has been depicted across various periods and genres, reflecting Japan's cultural, social, and economic transformations. By introducing selected films, the study highlights the dynamic relationship between film and urban space, considering Tokyo as both a setting and a narrative force. The essay addresses the ways in which filmmakers have used Tokyo to portray themes such as modernization, social inequality, and identity, as well as to document historical events and societal changes, from early depictions of Tokyo's modernization to postwar narratives of recovery and contemporary portrayals of urban alienation. This analysis underscores the city’s evolving role in Japanese film as a space of cultural memory, societal critique, and artistic exploration.departmental bulletin pape
Zur Theorie des filmischen Raums (Teil 1)
Get PDFThis 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.departmental bulletin pape
Zur Theorie des filmischen Raums (Teil 2)
Get PDFThis 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.departmental bulletin pape
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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