Das Werk Robert Musils wird heute weltweit rezipiert, gerade auch in Ostasien. Diese ostasiatischen Musil-Lektüren stehen im Mittelpunkt dieses Sammelbandes. Zum einen wird die Musil-Rezeption in Japan, Korea und China dargestellt; ebenso werden die Einflüsse dieser Rezeption auf die dortigen Literatur- und Kulturentwicklungen hervorgehoben. Dies schließt Überlegungen zur Übersetzung von Musils Texten in diese ostasiatischen Sprachen ein. Zum anderen werden Musil-Interpretationen vorgelegt, die sein Werk in den Kontext transkultureller Fragestellungen einrücken, wobei Bereiche wie z. B. Exotismus, Kulturverständnis, Sprache, Modernismus, Ethik und Hybridität angesprochen werden. Es wird dabei deutlich, dass Musils Texte als wichtige Wegmarken bei der Herausbildung eines globalisierten, transkulturellen Literaturverständnisses aufgefasst werden können. An dem Sammelband sind international bekannte Musilforscher:innen aus Asien, Australien, den USA und Europa beteiligt.

本研究の目的は日本人ドイツ語学習者とドイツ語教員による冠詞使用を授業における教授法を通して観察し、学習者による冠詞使用とその認知的な理解を調査する。それぞれ対面授業とオンライン授業で用いられる教材は学習者の冠詞理解にどのような教育上の影響があるのか、冠詞という文法項目を教材の中にどのように位置づけるべきかを解明し、日本人ドイツ語学習者が冠詞の意味上の機能をより簡単に理解できるように適切な教材を開発し授業改善および教育能力開発をしていく。現時点の研究実績および今後の進み方は以下は通りになる：
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1.学習者グループ・教員グループ選定：申請者が所属する学部および他学部・他大学の日本ドイツ語学習者を選定するおよび申請者が所属する学部および他学部・他大学のドイツ語母教員を選定した。
2.データ収集・課題設定：対面授業とオンライン授業によるデータ収集およびそれぞれの授業形式に適応する教育ツールを利用し、学習者の理解を確認した。
3.データ分析および国内・国外の研究論文と研究発表、高度教育開発実習：分析から得られたデータを算出し、分析する上、分析されたデータを論文としてまとめ国内・国外に発表することは今年度の予定である。また、新型コロナウイルス感染拡大の状況が治まり次第、申請者が所属する大学の協定校であるワシントン大学のCenter For Teaching and Learningに実施されている高度教育開発実習プログラムでの参加する予定である。

本研究の目的は，外国語作文の作成過程において，学習者が選択する表現の傾向を尊重しながら，母語話者の選択する表現との乖離性を削減していくことにある。学習者自らが適切な表現を選択し，可能な限り添削作業が削減されるような，システムの構築を目指している。2021年度は，学習目的言語であるドイツ語母語話者および非母語話者の添削過程に共通する作業に着目し，日本人ドイツ語学習者の作成した作文のテキストジャンル上の特徴を明らかにした。
平均的な日本人大学生が英語以外の外国語で作成した作文には，情報の伝達をする客観的なテキストと思考内容を伝達する主観的なテキストの特徴がみられた。まずは，学習者テキストの特徴を数値的に可視化するため，母語話者によって作成されたテキストをそれぞれのテキスト機能別に客観的テキストと主観的テキストに分類し，それぞれ品詞分析をおこなった。続いて，学習者テキストと３つのテキストを分析し，頻出する品詞の頻度を調査したところ，文を結合する要素として文頭に置かれる語の選択に，各テキストジャンルに共通する傾向を確認することができた。

Dieter Klement責任著者刊行の教材による語学監督

Dieter Klement責任著者刊行の教材による語学監督

ドイツに関する根本的なデータを日本と比較しながらドイツという国を解説し、ドイツ語はどのような文法上の仕組みから成り立つ言語なのか、アルファベットや簡単な会話文から説明します。実際に実践できるように、よりアクティブにドイツ語を紹介します。

In the August 1986 issue of the rather pseudoscientificjournal Utan, you can discover underthe title Kūchūfuyō ha jitsuzai ka&nbsp;a four-page report on the phenomenon of levitation withnumerous photos. Pictured is a man floating in yoga position with a grimed faceand flowing hair, who is the then 31-year-old leader of Ōmu ShinrikyōAsahara Shōkō. This rather grotesque and bizarre report, which appeared inalmost the similar format in the October issue of MU (Super Mystery Magazine) in 1985 and six years later 1991 inthe Aum magazine Asahara ShōkōZubari! Fuyō – Nijūhachinin no ketteiteki shunkan ga shōmei suru gendai noshinpi&nbsp;marks as well the end as a transitional phase of an epochof occult enthusiasm and spiritualistic or spiritual devotion within Japanesecultural history, whose origin dates back in the year of 1910, when with Chizuko Mifune (1886-1911) and Ikuko Nagao (1871-1911) two spiritual mediums lift the curtain of aspirit genealogy of modern times. While shortly before the outbreak of WorldWar I the enthusiasm for both spiritualism and occultism in America and Europe havebeen already in decline, clairvoyance (tōshi), thoughtography (nensha)&nbsp;and table-turning (kokkurisan) found its golden age in Japan,while its second and final culmination point can be located in the late 70s and80s. If the big bang of modern spiritualism can be dated back to the infamous poltergeistraps in the house of the young Fox siblings in Hydesville/New York in 1848, thesemantic topology of Japanese spiritualism and occultism in its original form canlook back on a far more profound history, since hauntings and ghost stories aredeep rooted in Japanese culture like in the 12th century and reappear in numerousliterature and art works through the following centuries until present times.&nbsp;The here presented paper attempts to turn out thatJapanese spiritualism is regarded more as an exotic and successor phenomenon ofthe Western (sub-)culture and demonstrates how spiritualist-occult thought andconsciousness has developed in Japan as an independent and far more progressivecultural phenomenon which, despite its scientific incredibility and its stigmatizedalterity, offers revealing connections between eudaemonism and empiricalmodernity. The transitions between this world and the hereafter revealimmersive hyperspaces of merging forms of perception and truth and require aredefinition of educational ideal and the human being in the so-called transhumantimes of Anything Goes.

It is rather obligatory that one might associate theinfamous scene of Rätsel der Urwaldhölle (1938) with the well acclaimed Schreibstundenout of the Nambikwara chapter in Tristes Tropiques (1955) by Frenchanthropologist and structuralist Claude Lévi-Strauss, when the self-claimedethnologist and adventurer Otto Schulz-Kampfhenkel, in the midst of the deepesteastern Amazon jungle makes the indigenous Aparai Pituma, whom he calls ironically“Winnetou”, draw in his travel diary with a small pencil. While with Lévi-Straussspeaking the handwriting of the indigenous Nambikwara people represents asymbol of new acquired western power, it is rather different in the case of marginalethnographic figures like Otto Schulz-Kampfhenkel, Senta Dinglreiter or ErnstSchäfer, who attempt to bring out the exotic alterity in human ego and pay anexplicit homage to a far more Eurocentric exoticism shaped by nationalistic or fascisticstereotypes and encounter in their exotic adventures simply “people withprejudices, desires, motivations, and affects and precisely not entire ‘cultures’that encounter each other” (Castro 2020: 157). Even if Hans Fischer (2003:129f. ) claims that an analysis of travel and adventure books published duringthe late Weimar Republic and the early Third Reich is hardly worthwhile as aresearch object, a comparative analysis with ethnographic and anthropologicalworks written at the same time like Tristes Tropiques by ClaudeLévi-Strauss or L’Afrique Fantôme (1934) by Michel Leiris reveal thebizarre attempt to reproduce a familiar Eurocentric homeland within a far away exoticcultural area and therefore evoke sort of a “cultural translation” (Castro2020: 87), in which contemporary readers are made familiar with “culturalaspects of foreign cultures” (ibid.) by transferring “the unknown into theknown” (Ibid.).Thehere presented research project attempts to turn out 1) the contrast betweenscientific and cultural exoticism as well as 2) aspects of a reversibleexoticism by 3) analyzing numerous examples of ethnological adventure andtravel literature before and during The Third Reich. The aim of this project isto make clear that exoticism, which until now has been used with a ratherpositive connotation, should be interpreted in a revised form as a topos of aforgotten literary genre that has received nearly no attention in related contemporaryresearch.

This here presented research project aims tofill this blank by 1) explaining the media-theoretical background of both thephonograph and the gramophone in contemporary literature and 2) giving insightin which form the phonograph and the gramophone as part of an technologicalexotism have been used&nbsp;in contemporary field research of the late 19th&nbsp;centuryand early 20th&nbsp;century with reference to ethnological traveland ethnological journeys in the period between the German Empire in 1870 andduring the rise and fall of the Nazi Party from on 1933 until 1945.Furthermore, this research project hereattempts to emphasize 1) the relationship betweenethnological and ethnographical researchers from Western Civilization and 2)the so-called&nbsp;Edlen Wilden&nbsp;from atavistic anduncivilized countries. It was these noble savages who had to provide and sharetheir&nbsp;Kulturelles Gedächtnis&nbsp;for numerousfield recordings while their wisdom and their mythical habits had to serve as ametaphorical storage of an&nbsp;Ästhetik des Diversen&nbsp;as defined byVictor Segalen in his&nbsp;Essai sur l'exotisme. Une ésthétique du divers.&nbsp;This form of a&nbsp;Kulturelle Übersetzung&nbsp;shows that the ethnological usage of the phonograph and thegramophone in the deep atavistic jungles of the Amazon and other uncivilizedspaces represents a new form of&nbsp;Kulturelle Aneignung&nbsp;and in the end symbolizes an extension of strong andtraditionalized colonial longings but on the other side give also aninteresting insight into the needs for collecting exotic ethnographica as doneby many modern ethnographers, ethnologists or adventurers during the here analyzedperiod.

Startingpoint of the here presented research project was the consideration ofidentifying a spatial analysis of cultural memory and spatial conceptions inthe works Hundstage (1988) and Letzte Grüße (2003) by late WalterKempowski based on the principles of psychogeography as suggested in Guy Debords‘Einführung in eine Kritik der städtischen Geographie (Introduction à unecritique de la géographie urbaine, 1955). However, the examination of bothprimary and secondary literature related to this topic revealed that theproblem of space must be analyzed far more comprehensively and extensive than ithas been done so far. Regarding to the complex (theoretical) structure of spacein modern German literature as well as in postcolonial cultural and media studies,it became obvious that the analysis of space should not be restricted only tothe above named works by Walter Kempowski but far more should be extended tothe analysis of space itself in Western civilization and its representativeliterature, cultural and geopolitical works from the beginning of the early 20thcentury to the present day by then comparing it to the narrative structure ofKempowski and as a final goal, to determine precisely which cultural aspectsWalter Kempowski used as a basis in his work to analyze space as an Echolotof human thoughts, which tracks he leaves in these archived and preserved memoryspaces and how these tracks have to be interpreted by the reader. Asa next step it is necessary to get a far more precise insight into the spatialconception as well in contemporary psychogeographical works as in works whichexamine space from a more anthropological or ethnological/ethnomusicologicalpoint of view. Therefor it will be urgent to continue collecting and examininginterdisciplinary works on their view about spatial concepts and demonstratehow these concepts are applicable to the work of Walter Kempowski. While mostof the published papers on Walter Kempowski deal with political and historicalissues the here presented research project will be a pioneer work by analyzingKempowskis’ late work under new and not reflected aspects up to date.