label: url

en: Zur Rolle des digitalen Paratextes am Beispiel des Romans "Unterleuten" (2016) von Juli Zeh

en: Beitraege zur Deutschen Literatur, Sprache und Kultur


en: Jurij Lotmans Theorie der Raumsemantik als methodischer Beitrag zur Analyse literarischer Texte

en: Beitraege zur Deutschen Literatur, Kultur und Sprache


en: A Spatial Approach to the Fictional World of Murakami Haruki

en: In Statu Nascendi - Journal of Political Philosophy and International Relations


en: Intermediales Erzaehlen am Beispiel des Grossstadtromans "After Dark" (2004) des japanischen Schriftstellers Murakami Haruki

en: Bulletin of the Foreign Language Center Tokai University


en: Franz Kafka und die Rolle der Medien im Roman "Das Schloss"

ja: Bulletin of the Foreign Language Center Tokai University


en: Zur Translation bildlicher Rede vom Deutschen ins Japanische am Beispiel des Romans "Komm, suesser Tod" (1998) von Wolf Haas

en: Studien zur deutschen Literatur und Sprache, Japanische Gesellschaft fuer Germanistik


en: Ueber die Stadt Tokyo im japanischen Kinofilm

en: Journal of Language and Literature, Faculty of Integrated Arts and Sciences, The University of Tokushima


en: Zur Theorie des filmischen Raums (Teil 2)

en: Journal of Language and Literature

ja: Journal of Language and Literature


en: Zur Theorie des filmischen Raums (Teil 1)

en: This 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.

ja: Journal of Language and Literature, Faculty of Integrated Arts and Sciences, The University of Tokushima


en: Der japanische Film - Von der amerikanischen Besatzung bis zur Gegenwart


en: Der japanische Film : Von der Einführung des Mediums bis zum Ende des Zweiten Weltkriegs

en: The article first covers pre-war silent film in Japan and describes the introduction of the new medium at the beginning of the 20th century. The main focus is on the relationship between Japanese silent films and traditional theater, the role of film narrators (benshi) and the attempts of Japanese filmmakers to establish film as an independent art. The article then moves on to the further development of Japanese films about historical (jidaigeki) and contemporary society (gendaigeki), containing analysis of different film genres such as Japanese tendency films (keikô eiga) which were a reaction to the worsening economic situation of large parts of the Japanese population at the end of the 1920s. The text then deals primarily with the introduction of sound in film and the further development of the Japanese film industry during the 1930s, while the counrtry underwent a political radicalization and militarization which led to the participation of Japan in World War 2. Finally, the text analyses the circumstances under which the Japanese film industry produced films during World War 2 when film production was severely restricted by the guidelines of state censorship.


en: Über den Übersetzer Murakami Haruki

ja: Über den Übersetzer Murakami Haruki

en: Murakami 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.


en: Das gespaltene Ich - zur dissoziativen Identitaetsstoerung literarischer Figuren in den Texten des japanischen Schriftstellers Murakami Haruki


en: Zum Einsatz von Sprachlernspielen im Deutschunterricht

en: The Report of the Foreign Language Center Tokai University


en: Ueber Moodle im Deutschunterricht an der Tokai Universitaet

ja: The Report of the Foreign Language Center Tokai University


en: Zur Rolle von Strategien in Pruefungen im Bereich Deutsch als Fremdsprache (DaF) - am Beispiel des Oesterreichischen Sprachdiploms Deutsch (OeSD)


en: Zur strategischen Kompetenz im Unterricht Deutsch als Fremdsprache

en: Bulletin of the Prefectural University of Aichi


en: Der "internationale" Stil von Murakami Haruki

ja: Bulletin of the Prefectural University of Aichi


en: Das Phaenomen der Zweituebersetzung - Am Beispiel eines Romans von Murakami Haruki


en: Schriftsteller als Uebersetzer - am Beispiel des japanischen Schriftstellers Murakami Haruki


en: Aspekte der Postmoderne in dem Roman "Wilde Schafsjagd" von Murakami Haruki