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 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 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) 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. 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 in contemporary field research of the late 19th centuryand early 20th 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 Edlen Wilden from atavistic anduncivilized countries. It was these noble savages who had to provide and sharetheir Kulturelles Gedächtnis for numerousfield recordings while their wisdom and their mythical habits had to serve as ametaphorical storage of an Ästhetik des Diversen as defined byVictor Segalen in his Essai sur l'exotisme. Une ésthétique du divers. This form of a Kulturelle Übersetzung 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 Kulturelle Aneignung 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.