Tag Archives: German

‘Von der Muttersprache zur Sprachmutter’: Yoko Tawada’s Creative Multilingualism

The Taylorian is delighted to be hosting an exhibition celebrating the work of Yoko Tawada, DAAD Writer in Residence at St Edmund Hall for two weeks from 19th February 2017. The exhibition has been curated by Masters student Sheela Mahadevan (MSt Modern Languages), with the help of DAAD-Lektor Christoph Held and Professor Henrike Lähnemann, and will run for the duration of Tawada’s visit. It is open to holders of a Bodleian Reader Card.  This blog post is an abbreviated version of the exhibition catalogue prepared by Sheela Mahadevan.

Sheela Mahadevan and Christoph Held setting up the exhibition

Sheela Mahadevan and Christoph Held setting up the exhibition

Yoko Tawada was born in 1960 in Tokyo, Japan.  From 1982, she did an MA in German literature at Hamburg University, followed by a PhD at Zurich University. Germany is now her home: after living in Hamburg for 22 years, Tawada moved to Berlin in 2006, where she still lives. She writes in both German and Japanese, with the nature of her bilingualism a prominent feature in her work.

Tawada works intensively with German dictionaries when she writes. These are two of those she uses most:

Tawada has won numerous prizes for her work, such as the Adelbert von Chamisso Prize (1996), the Förderpreis für Literatur der Stadt Hamburg (1990), the Lessingförderpreis (1994), as well as numerous Japanese prizes. She was winner of the prestigious Kleist Prize in 2016 (see this extract of the Laudatio by Günter Blamberger given on this occasion).

Tawada writes in a variety of genres and media: novels, poetry, essay collections, plays, and even audio texts. Some of her works are written in Japanese, and then translated into German. Other works are written in German. She rarely translates one language into the other herself, but sometimes writes the same text in both Japanese and German.

Some examples of Tawada’s work.

Of course Tawada is not alone in making use of multilingualism in her writing. Other multilingual writers writing in German whose works contain the presence of one or more additional languages, include Paul Celan, Franco Biondi, Franz Kafka, Elias Canetti, Galsan Tschinag, Emine Sevgi Özdamar and Tzveta Sofronieva.

Other multilingual works by authors writing in German:

When making deliberate use of several different languages, the way the languages are presented to the reader is a very important consideration. Layout, choice of typeface and clarity of presentation can all influence how the reader perceives the language and culture in relation to others. The Taylorian has examples of bilingual books over several centuries.

Schottel, Justus Georg. Ausführliche Arbeit Von der Teutschen HaubtSprache/ Worin enthalten Gemelter dieser HaubtSprache Uhrankunft/ Uhraltertuhm/ Reinlichkeit/ Eigenschaft/ Vermoͤgen/ Unvergleichlichkeit/ Grundrichtigkeit/ zumahl die SprachKunst und VersKunst Teutsch und guten theils Lateinisch völlig mit eingebracht/ wie nicht weniger die Verdoppelung/ Ableitung/ die Einleitung/ Nahmwörter/ Authores vom Teutschen Wesen und Teutscher Sprache/ von der verteutschung/ Item die Stammwoͤrter der Teutschen Sprache samt der Erklaͤrung und derogleichen viel merkwuͤrdige Sachen. Abgetheilet In Fünf Bücher. Braunschweig/ Gedrukt und verlegt durch Christoff Friederich Zilligern, 1663.

Schottel, Justus Georg. Ausführliche Arbeit Von der Teutschen HaubtSprache/ Worin enthalten Gemelter dieser HaubtSprache Uhrankunft/ Uhraltertuhm/ Reinlichkeit/ Eigenschaft/ Vermoͤgen/ Unvergleichlichkeit/ Grundrichtigkeit/ zumahl die SprachKunst und VersKunst Teutsch und guten theils Lateinisch völlig mit eingebracht/ wie nicht weniger die Verdoppelung/ Ableitung/ die Einleitung/ Nahmwörter/ Authores vom Teutschen Wesen und Teutscher Sprache/ von der verteutschung/ Item die Stammwoͤrter der Teutschen Sprache samt der Erklaͤrung und derogleichen viel merkwuͤrdige Sachen. Abgetheilet In Fünf Bücher. Braunschweig/ Gedrukt und verlegt durch Christoff Friederich Zilligern, 1663.

Opitz, Martin, and Esaias Fellgiebel. Des berühmten Schlesiers Martini Opitii von Boberfeld/Bolesl. Opera. Geist- und Weltlicher Gedichte/ nebst beygefuͤgten vielen andern Tractaten so wohl Deutsch als Lateinisch/ Mit Fleiss zusammen gebracht/ und von vielen Druckfehlern befreyet. Die neueste Edition. Breßlau: Verlegts Jesaias Fellgibel, ..., 1690.

Opitz, Martin, and Esaias Fellgiebel. Des berühmten Schlesiers Martini Opitii von Boberfeld/Bolesl. Opera. Geist- und Weltlicher Gedichte/ nebst beygefuͤgten vielen andern Tractaten so wohl Deutsch als Lateinisch/ Mit Fleiss zusammen gebracht/ und von vielen Druckfehlern befreyet. Die neueste Edition. Breßlau: Verlegts Jesaias Fellgibel, …, 1690.

Luther, Martin. Ein Wellische Lügenschrifft/ von Doctoris Martini Luthers Todt/ zů Rom außgangen. Papa quid ægroto sua fata ... perfide Papa velis. Nürnberg: [Hans Guldenmund], 1545.

Luther, Martin. Ein Wellische Lügenschrifft/ von Doctoris Martini Luthers Todt/ zů Rom außgangen. Papa quid ægroto sua fata … perfide Papa velis. Nürnberg: [Hans Guldenmund], 1545.

Clifton, E., Friedrich W. Ebeling, and Giovanni. Vitali. Manuel de la conversation et du style épistolaire : Français-anglais-allemand-italien. Nouv. éd., soigneusement revue et corrigée. ed. Paris: Garnier Frères, 1866.

Clifton, E., Friedrich W. Ebeling, and Giovanni. Vitali. Manuel de la conversation et du style épistolaire : Français-anglais-allemand-italien. Nouv. éd., soigneusement revue et corrigée. ed. Paris: Garnier Frères, 1866.

Taylor, Thomas. The Gentleman's Pocket Companion, for Travelling into Foreign Parts: : Being a Most Easy, Plain and Particular Description of the Roads from London to All the Capital Cities in Europe. With an Account of the Distances of Leagues or Miles from Place to Place, All Reduced to the English Standard. Illustrated with Maps Curiously Engraven on Copper Plates. With Three Dialogues in Six European Languages. The First Being to Ask the Way, with Other Familiar Communications. The Second Is Common Talke in an Inn. The Third Other Necessary Conversation. London: Printed and Sold by Tho: Taylor ..., 1722.

Taylor, Thomas. The Gentleman’s Pocket Companion, for Travelling into Foreign Parts: : Being a Most Easy, Plain and Particular Description of the Roads from London to All the Capital Cities in Europe. With an Account of the Distances of Leagues or Miles from Place to Place, All Reduced to the English Standard. Illustrated with Maps Curiously Engraven on Copper Plates. With Three Dialogues in Six European Languages. The First Being to Ask the Way, with Other Familiar Communications. The Second Is Common Talke in an Inn. The Third Other Necessary Conversation. London: Printed and Sold by Tho: Taylor …, 1722.

The materiality of the book is a vital aspect of Tawada’s works. She experiments with different forms of paper and other materials in her books. Although paper made from plant-based products has been available since the end of the Middle Ages, Tawada chose to have the book cover of Ein Gedicht für ein Buch made from fish skin, since fish and water are important in her works.

“When a book is translated into other languages, you can’t control the translation.”

(Yoko Tawada, Jaipur Literary Festival 2016)

Translating Tawada is undoubtedly a challenge; it often requires a knowledge of both Japanese and German. It poses many ‘problems’: how do we translate neologisms into any language? How do we translate so as to recreate the reading experience of a specific book? For example, in a book that is in German and Japanese, where both languages are to be read in different directions, how is this effect rendered in an English translation? How do we translate into English a German and a Japanese version of the same text?

In this text, Chantal Wright outlines the problems and demonstrates potential solutions when translating Tawada’s work.

Tawada, Yōko, and Chantal Wright. Portrait of a Tongue. Ottawa, 2013.

Tawada, Yōko, and Chantal Wright. Portrait of a Tongue. Ottawa, 2013.

Tawada’s works make us reconsider our own relationship with language, creating the feeling that no-one can be comfortable in any language, even our mother tongue. Is it possible to free oneself from language?

We end this post with a variety of comments by Yoko Tawada regarding language and translation, taken from Koiran, Linda, Schreiben in Fremder Sprache- Yoko Tawada und Galsan Tschinag (Munich: Iudicum Verlag, 2009) pp. 257-358:

———————–

<<Wenn man eine weitere Sprache kennt, dann ist die Distanz zwischen sich selbst und der Muttersprache spürbar. Man ist nicht so ganz unter der Macht der Sprache. Das ist eine Befreiung, und dann kann man erst mutig werden.>>

 (If you know another language, then the distance between yourself and the mother tongue can be sensed. You aren’t quite so much under the spell of the language. You are released, and only then can you become bold.)

———————–

<<Wenn ich im Denken von der einen Sprache zur anderen springe, spüre ich einen Augenblick stark, dass es ganz dunkle Bereiche gibt, ohne Sprache….Wenn man in diese Kluft einmal hineingefallen ist, dann ist die Muttersprache auch ganz fremd, ich finde Japanish dann sehr komisch und Deutsch sowieso. Dieses Gefühl ist für mich sehr wichtig: sich von der Sprache zu befreien.>>

 (If I jump from one language to another while thinking, I sense for a moment that there are quite dark areas without language…if you have fallen into this abyss once, then the mother tongue is quite foreign, I then find Japanese very strange, and German too. This feeling for me is very important: to free oneself from language.)

———————–

<< Die literarische Sprache ist sowieso nie die Muttersprache. So wie ich auf Japanisch schreibe, gleicht nicht dem Japanisch, das ich spreche oder der japanischen Sprache, die ich als Kind gelernt habe. In dem Moment, wo man einmal eine Trennung von der Alltagssprache gemacht hat, kommt die literarische Sprache- und die ist sowieso eine Fremdsprache.>> 

(Literary language is in any case never the mother tongue. The way I write in Japanese never equates to the Japanese which I speak, or the Japanese language which I learnt as a child. When one has separated from the language of daily use, this is the moment at which literary language arises, and this is in any case a foreign language.)

 ———————–

For a video introduction to the exhibition, please see the links below:

Introduction: On Yoko Tawada https://youtu.be/gVxWauXK4fE

Exhibition Case 2: Bilingual Layout in Yoko Tawada https://youtu.be/rU5Zv36k2iY

Exhibition Case 3: Exophonic Writing in German https://youtu.be/I6dd2wPT0HY

Exhibition Case 4: Bilingual Layout https://youtu.be/M0z8HMzXqSU

Exhibition Case 5: Bilingual Layout 2 https://youtu.be/CgujyiGUVgc

 ———————–

Exhibition catalogue by Sheela Mahadevan, MSt student, Oriel College

Text abbreviated for online publication by Emma Huber, German Subject Librarian

 

Playing Shakespeare in German

IMG_2885 - compressed

The Taylor Institution’s ‘Shakespeare in Translation’ exhibition illustrates the broad linguistic scope of Shakespeare reception across Europe. His plays have a particularly long history of adaptation and translation in German. This post explores some of the milestones in that history, from anonymous reinterpretation while Shakespeare was still writing, all the way to Brecht’s radio plays the twentieth century, via the authoritative Schlegel-Tieck edition of the early nineteenth century.

The Beginning

In 1586, the English comedians arrived in Germany, and continued to perform until 1660. It was they who provided Germany’s introduction to Shakespeare, during the playwright’s lifetime. Their repertoire included plays loosely based on Shakespeare’s – emphasis on the word ‘loosely’. The name ‘Shakespeare’, however, was not associated with these plays, and is generally thought not to have been mentioned in Germany until Daniel Georg Morhof’s Unterricht von der Teutschen Sprache und Poesie in 1682. Even if divorced from the name of Shakespeare, these plays do represent very early reception of his works in Germany. Some of the texts survive, both in fairly modern and near-contemporary editions, of which the oldest is Englische Comedien und Tragedien (1620). The eighth play in this collection is a German translation and adaptation of Titus Andronicus, making it the first of Shakespeare’s plays to be printed in Germany, as well as the first to be printed in England. Its temporal proximity to the earliest English performances of the play, as well as that fact of its being performed by English actors (some in English, and some in German), mean that we can learn a great deal about the history of Titus Andronicus and its original performance from this printing.

Collected Plays in Translation

Shakespe11.WielandShakespeare Theatralische Werke Band 1 p129 - compressedare’s popularity took off in Germany in the eighteenth century, when German commentaries on his work first began to appear. Although his name had been known in Germany since Morhof in 1682, and to French-reading audiences through Voltaire’s Lettres philosophiques sur les Anglais, the real development did not come for another eighty years, with Christoph Martin Wieland’s Shakespear: theatralische Werke (1762). Although Wieland did not translate all of the plays, English-language scholars of Shakespeare in Germany are united in their assessment of the significance of this publication:

 

 

Simon Williams: ‘It would be difficult to overstate the importance of Wieland’s translation in the introduction of Shakespeare into German’ (Williams, p. 52)

Roger Paulin: ‘no serious discussion of Shakespeare’s text could … be expected much   before 1762, the date of the first volume of Wieland’s translation’ (Paulin, p. 21)

Wieland’s work was neither definitive nor complete, and J.J. Eschenburg built upon it in the next decade with William Shakespear’s Schauspiele. Neue Ausgabe (1775-77, 1782). It was, though, the appearance of Schlegel’s translation (1797-1810) which irrevocably changed Germany’s relationship with Shakespeare. Schlegel’s work become the standard German Shakespeare translation, largely because of his famous principle ‘alles im Deutschen Thunliche’. Paulin summarises the impact of this approach, which:

‘means that Shakespeare can be both translatable and German … For Schlegel, poetic             rendition was an absolute requirement, not an option’ (Paulin, p. 303)

In the 1820s, Ludwig Tieck re-edited Schlegel’s translations to produce Shakespeare’s dramatische Werke. Uebersetzt von August Wilhelm von Schlegel, ergänzt und erläutert von Ludwig Tieck (1825-33). In the introduction, Tieck takes it upon himself to warn his readers against another set of translations which began appearing in the intervening 14.SchlegelTieckShakespeareÔÇÖs Werke SchlegelTieck Title Page 2 - compressedyears between Schlegel’s original publication, and his own reissue: that of Johann Heinrich Voss and his sons, Shakespeare’s Schauspiele von Johann Heinrich Voß und dessen Söhnen Heinrich Voß und Abraham Voß (1818-1829). Schlegel was not himself involved in this new version and was furious, both at the reissue of his work, and at Tieck’s supposed improvements (Paulin, p. 344). The Schlegel-Tieck edition is viewed as a ‘German classic in its own right’ (Korte and Spittel, p. 269), and Friedrich Gundolf viewed Schlegel’s work as the endpoint and the high-point of a development of Shakespeare as belonging to the German spirit, which had begun with Lessing (Gundolf, p. 356). But it was also a question of timing. George Steiner describes Schlegel’s translations as ‘formidable re-creations of the English text [which] coincided precisely with the time in which the German language was coming of literary age’ (Steiner, p. 156).

The Schlegel-Tieck edition, however seminal, did not put an end to the translation of Shakespeare into German. Paulin identifies the translations by Ernst Ortlieb (W. Shakespeare’s dramatische Werke (1842-43)) and Friedrich Bodenstedt (William Shakespeare’s Dramatische Werke (1867-71) as having been undervalued (Paulin, pp. 331, 329), and indeed they have received little modern critical attention. Moving into the twentieth century, Friedrich Gundolf’s enduring contribution to Shakespeare studies must be his Shakespeare und der deutsche Geist (1911), but a decade later he published Shakespeare in deutscher Sprache (1920-22). This, though, is ‘today only [of] antiquarian interest’ (Paulin, p. 488).

Translations of Individual Plays

20.Schroeder Ko¦ênig Lear Title Page - compressedWhere translations of individual works are concerned, we see some famous names, and some that are less familiar. The Taylor Institution holds several translations by the actor, theatre manager, and dramatist F.L. Schröder, including his Hamlet and König Lear (both editions 1778), as well as Gottfried August Burger’s Macbeth (1783). Schröder’s production of Hamlet had a particular influence on German literature, for it inspires the hero of Goethe’s Wilhem Meister’s Lehrjahre (himself named for Shakespeare) to want to put on a complete German version of the play. Hamlet, indeed, is discussed at length in the novel. Bürger, meanwhile, was Schlegel’s mentor, and although Schlegel had little complimentary to say about this version of Macbeth in later life, ‘it was Bürger who in 1789-93 was able to instil in the young Schlegel the confidence to produce a verse Midsummer Night’s Dream quite distinct from Wieland’s’ (Paulin, p. 311). Seventeen years later, Schiller also produced an adapted translation of Macbeth, and in 1812, Goethe, who as theatre director in Weimar produced a number of Shakespeare’s plays, put on his own adapted version of Romeo and Juliet, although thereafter he lost interest in translating Shakespeare. Moving forward over a century, we come to Bertolt Brecht, who used elements of many of Shakespeare’s plays in his writing, and whose free adaptations were tailored to his own critical and political purposes. In October 1927, his adaptation of Macbeth was performed on the Berliner Rundfunk radio station, but the manuscript is now lost. The same station also broadcast his Hamlet in 1931. Between 1951 and 1953 Brecht also produced a partial translation of Coriolanus. Although it remained unfinished, it was nonetheless translated back into English by Ralph Manheim.

Four hundred years after his death, Shakespeare’s popularity in Germany shows no sign of waning. He is perhaps as present in German schools as in English. Despite the great variety of interpretation made possible through the different acts of translation outlined above, however, the status of Schlegel’s achievement means that German has a standard version of Shakespeare which has something like the status which the original has in English. But while this post has focused on German translators of Shakespeare, they are only one aspect of German Shakespeare reception. Germany also has a long tradition of Shakespeare critics and commentators, some of whose names are well known, and some of whose stories have been almost forgotten.

Mary Boyle
University of Oxford

Resources:

Print:

  • Bate, Jonathan (ed.), Titus Andronicus, the Arden Shakespeare (London and New York: Routledge, 1995)
  • Gundolf, Friedrich, Shakespeare und der deutsche Geist (Berlin: Bondi, 1911)
  • Guntner, Lawrence, ‘Rewriting Shakespeare: Bertolt Brecht, Heiner Müller, and the Politics of Performance’ in Shakespeare and European Politics (Newark: University of Delaware Press, 2008), pp. 179-195
  • Korte, Barbara, and Christina Spittel. “Shakespeare Under Different Flags: The Bard in German Classrooms from Hitler to Honecker”. Journal of Contemporary History2 (2009): 267–286.
  • Paulin, Roger, The Critical Reception of Shakespeare in Germany: 1682-1914 (Hildesheim, Zürich, New York: Olms, 2003)
  • Steiner, George, The Death of Tragedy (Faber & Faber, new edition 2010)
  • Williams, Simon, Shakespeare on the German Stage, 1: 1586-1914 (Cambridge: Cambridge University Press, 1990, repr. 2004)

Online