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In diesem Beitrag beziehe ich mich auf mehrere Beispiele aus der Feldforschung und bereits vorliegender Sekundärliteratur, um verbreitete Vorstellungen und Wahrnehmungen zur Präsenz körperlicher Gesten in einigen Performance-Kontexten afrikanischer Gesellschaften sowohl zu verdeutlichen als auch neu zu positionieren. Meine Argumentation und das zu ihrer Unterstützung herangezogene Material betrachten dabei auch Nicht-Körperliches als einen integralen und unentbehrlichen Teil körperlicher Expressivität. Mentale, somatische und verbal nicht artikulierbare Elemente erweisen sich als Teilbestände nicht-körperlicher Schauplätze, die eine dialogische Beziehung zwischen körperlicher Expressivität und der subjektiven Existenz ihrer Teilnehmer beeinflussen und aufrechterhalten. Die Beschäftigung mit dem Themenkomplex der körperlichen Expressivität wird zusätzlich von der Beobachtung geleitet, dass die expressiven und kommunikativen Funktionen körperlicher Gesten und mit ihnen assoziierte Bedeutungsstufen zumindest in der auf Afrika bezogenen Forschungsliteratur bislang nur geringe theoretische und methodologische Aufmerksamkeit gefunden haben. Der vorliegende Aufsatz versteht körperliche Expressivität in letzter Instanz daher als eine kulturelle Praxis, was eine erweiterte Perspektive auf die Erläuterung alltäglicher und außergewöhnlicher Umstände eröffnet, in denen man auf körperliche und nicht-körperliche Ausdrucksformen stößt. Die Substanz dieses Artikels soll jedoch den der Berliner Tagung "Kinaesthetik und Kommunikation" (2010) zugrunde liegenden Forschungsfragen und Schlüsselthemen wie Kontext, Epistemologie und Zwischenbereichen kultureller Kontextualisierung, Bedeutung und Redefinition gelten. Der Artikel stützt seine Argumentation dabei auf das spezifische Beispiel der personalisierten "Name Performance" der Anlo-Ewe in Ghana, die verschiedene Implikationen für die Methodik der Untersuchung körperlicher und nicht-körperlicher Expressivität in afrikanischen Performance-Traditionen aufzeigen.
Der Begriff der Nationalliteratur fungiert bei Herder […] vor allem als eine Differenzkategorie, die in Frontstellung zu den Konzepten eines universalistischen Rationalismus :und einer durch ihn begründeten klassizistischen Ästhetik entworfen wird, weil in ihrem Horizont das Problem der kulturellen Differenz nicht gedacht werden kann. Herders Konzept ist daher primär zu lesen als ein solches, das nach Wegen sucht, die Frage kultureller Differenz sowohl in synchroner wie in diachroner Perspektive zu erfassen.
Jahrhunderte lang betonte man die unhistorische Auffassung der Sprachreinheit. Den Mythos der „reinen“ Sprachen zu dekonstruieren, bedeutet, die mythische Verbindung zwischen Muttersprache und Literatur in Frage zu stellen. Vorgeschlagen wird, dem Weg vom sprachlichen Kreolismus zur literarischen Anthropophagie zu folgen. Anthropophagie ist vielleicht die bestmögliche Haltung gegenüber der Globalisierung. Anstatt Angst zu haben vor einer kulturellen Uniformierung sollten wir fremde Einflüsse aufnehmen, wissend, dass wir nachher nie wieder so sein werden wie vorher. Wir brauchen ein neues, anthropophagisches Sprachverhältnis, eines, das akzeptiert, dass alle Sprachen Kreolensprachen sind. Wer die Kreolisierung akzeptiert, verwirft jede Form der absoluten Wahrheit und betrachtet jede Ideologie als vergänglich.
This paper, written by an anthropologist, describes his fieldwork experience in the Afro-Brazilian temple Casa das Minas, São Luis do Maranhão, in 1981-1982, done with the German writer Hubert Fichte. Although correcting some statements in Fichte's book on the same subject and criticizing his indiscretion towards several of his informants, the article emphasizes the learning process with the German "ethnopoet": his skillful interview technique, the priority given to subjects of general interest, the importance of card files, the sought for beauty in the statements… As to the methodological differences between ethnography and ethnopoetry, the latter is free from the conventions of anthropological work, being able to concentrate on the beauty of the text and to conceive ethnography as a literary form. On the other hand, the advantages of ethnography, especially in Malinowski's tradition, are in the commitment with true facts and the precision of details. – See also, in this number of Pandaemonium Germanicum, Willi Bolle's complementary article on "Ethnopoetry and Ethnography".
Although the first travels to America were largely motivated by material interests, the news about native peoples published in Europe by the travellers little by little influenced a conception of the world, which was still dominated by medieval traditions. In general, the experience of the alien was still described in the forms of the own, but gradually the empirical knowledge began to structure a new discourse. The author analyses the earliest books on voyages to Brazil in the middle of the l6th century by Hans Staden, Jean de Léry and André Thevet. He observes how they develop discursive orders of their own, trying to deal with strange phenomena. They mark a first step for Western thought in the process of creating a space for the alien, who really exists – in this case on the coast of Brazil.
Ethnopoesie und Ethnographie
(2001)
This paper is a comparative investigation of two kinds of anthropological fieldwork – ethnopoetry and ethnography – made by two authors on the same subject, at the same place and time: the Afro-Brazilian temple Casa das Minas, in São Luis do Maranhão, in 1981-1982. The analysis focuses on the work of the German writer Hubert Fichte(1935-1986), 'Das Haus der Mina in São Luis do Maranhão (l989), and on the study of the Brazilian anthropologist Sergio FERRETTI, 'Querenbentã de Zomadônu. Etnografia da Casa das Minas do Mamnhão' (1983 and 1996). The comparison of methods and results reveals, on the one hand, advantages of the ethnopoetical approach in the art of interview, priority given to the informants' discourse, and the interpretation of religious rituals, from a general point of view. On the other hand, the special qualities of the ethnographical approach are the theoretical understanding and the didactic transmission of the other culture, combined with the translation of basic concepts through a glossary. – See also, in this number of Pandaemonium Germanicum, Sergio Ferretti's complementary article on "Ethnography and Ethnopoetry".
From New Corbuzon to UnLondon, China Miéville's works show a preoccupation with the city which transcends the function of setting and serves as a subtext to the plot. As one of the most prominent representatives of weird fiction Miéville constructs cityscapes that fascinate the reader with their eccentricity and strangeness, but also with their social, historical and architectural complexity. In "Perdido Street Station" the eponymous landmark in New Corbuzon is essential for the denouement of the plot rather than merely a backdrop. The city is a character in its own right. This is also and especially true for Miéville's 2009 novel "The City and the City". Here, the city seems at first normal, then alien and in conclusion utterly quotidian. The way the literary space and place is built permeates everything in the novel: the way the characters act, the crime plot, the philosophy and mood. At the core, "The City and the City" captures the everyday creation and maintenance of social space and illustrates the human capacity to deal with conflicting, layered realities of communal life and the human condition.
The "City and the City" is set in the twin city states of Besźel and Ul Qoma that occupy much of the same geographical space, but are perceived as two very different cities. The borders between the cities are invisible and intangible, but reinforced by citizens by "unseeing" and "unsensing" the other one. Meaning: someone in Besźel must ignore everything Ul Qoman even what is right next to them. Some parts of the cityscape are totally in one city but quite a few are "cross-hatched", meaning in either city depending on what is unseen. Unsight is an acquired habit, but one that is performed unconsciously. To unsee the other city is an integral part of being a citizen and important in the socialiation of children. Acknowledging the other city even accidentally is a serious crime called breaching punished by an all-seeing, all-powerful agency named Breach. Why and how the state of separation between the cities came to pass is unknown: an event ambiguously called "cleavage" split or united the cities.
"The City and the City" won several awards for fantasy writing, although it is fantastic only in one aspect and – plotwise – the novel is crime fiction: a police procedural with noir and hard-boiled touches – genres that lay claim on gritty realism. It is precisely this uncertainty of genre that allows a subversive reading of the text and contributes to the social criticism therein. In the novel Inspector Tyador Borlú from Besźel investigates the murder of foreign student Mahalia Greary across the cities and uncovers a conspiracy to exploit the cities' cultural heritage for profit.
Bu çalışmada, göç hareketleri ve post kolonyal süreç nedenleriyle çok tartışılan Cultural Turns, yani "Spatial Turn" uzantısı bağlamında "büyük kent" ya da "metropol" kavramı ele alınacaktır.
Edebi bir eserin baş figürü için bir metropolün kaçınılmaz tuzakları yabancılık ve yabancı yaşam biçimleridir; bu anlamda burada Alman dilinde kaleme alınmış iki metinde (Alfred Döblin: Berlin Alexanderplatz und E. Sevgi Özdamar: Seltsame Sterne starren zur Erde. Wedding-Pankow 1976/77) mekan olarak büyük kent Berlin, baş figürler tarafından yaşantılanan yordamsızlık, hayatta kalma stratejileri ve yabancı yaşam biçimleriyle karşılaşmaları bakımından edebi, sosyolojik ve aynı zamanda mekana ilişkin çıkarımlarla analiz edilecek ve anlamlandırma girişimleri öne çıkarılacaktır.
Mekân burada her şeyi saklayan ve insanların kişiliklerini biçimleyen anlam yüklü ve kimlik kazandırıcı bir kabuk manasındadır. Metropol ne denli tehlikeli ve çekici ise orada yaşamak o denli zordur, çünkü metropol, insanları kendine çeker, zayıfları ezerken, içindeki kaotik yaşam, inceleyeceğimiz romanlarda olduğu gibi, kötüleri besler.
In view of the tremendous success of Victor Klemperer's diaries testimoning his personal experience as a Jew in Nazi Germany, this article discusses the specific contribution of witness literature to the knowledge of history. During the Holocaust period, in the face of death, true historical knowledge was essentially reduced to personal experience. Klemperer's clandestine journal exposes how the collective trauma affected everybody through the daily speech patterns, dictated by the Nazis' appropriation of the German language. In this memory of Alltagsgeschichte as a critical history of language can be seen the specific contribution of Literature of testimony. The function of Klemperers chronicle of 'Lingua Tertii Imperii' to develop the readers linguistic sensitivity, in order to enable them to reappropriate their language.
It is no accident that the figuration of rewriting as copying is an image from "One Way Street". This apparently casual assemblage of small, rather belletristic texts - still some of the least explored terrain in all of Benjamin - is in important ways the key to all of Benjamin’s later writing, and especially that writing based on the form of the "Denkbild" or figure of thought. In what follows, I will concentrate on one set of paired examples in order to demonstrate in a more focused way the practice of rewriting and its effects: on the relationship between "Berlin Childhood around 1900" and "One Way Street".