Ideofonografie und transkulturelle Homofonie bei Yoko Tawada

Translated title of the contribution: Ideophonography and transcultural homophony in the works of Yoko Tawada

Research output: Contribution to journalArticle

Abstract

The article tries to explain Yoko Tawada's writing techniques, particularly her experimental prose in Überseezungen (2002), a title that can be read and understood in three different ways as Oversea Tongues, as About Soles or as the German expression for Translations. I will analyze Tawada's usage of "scenic homophony" and "ideogrammic" procedures while drawing on insights from Michel Foucault's interpretations of Brisset and Roussel, and compare her ludic dictionary with the one of Michel Leiris, published in Glossaire j'y serre mes gloses (1939). Tawada's intercultural poetry, which can be described as "ideophonography," is based on the language differences produced by translating words from a Western language into ideograms and back into the original language. The effect is a very mobile narrative, which dissolves language and makes it return again, thus generating surprisingly new meanings.

Original languageGerman
Pages (from-to)328-342
Number of pages15
JournalArcadia
Volume50
Issue number2
DOIs
Publication statusPublished - 2015 Nov 1

Fingerprint

Language
Transcultural
Homophony
Michel Leiris
Poetry
Michel Foucault
Dictionary
Language Differences
Ideogram
Translating
Tongue
Original Language
Prose

ASJC Scopus subject areas

  • Literature and Literary Theory

Cite this

Ideofonografie und transkulturelle Homofonie bei Yoko Tawada. / Klawitter, Arne.

In: Arcadia, Vol. 50, No. 2, 01.11.2015, p. 328-342.

Research output: Contribution to journalArticle

@article{2386867cb3454f729503ca24d8bda068,
title = "Ideofonografie und transkulturelle Homofonie bei Yoko Tawada",
abstract = "The article tries to explain Yoko Tawada's writing techniques, particularly her experimental prose in {\"U}berseezungen (2002), a title that can be read and understood in three different ways as Oversea Tongues, as About Soles or as the German expression for Translations. I will analyze Tawada's usage of {"}scenic homophony{"} and {"}ideogrammic{"} procedures while drawing on insights from Michel Foucault's interpretations of Brisset and Roussel, and compare her ludic dictionary with the one of Michel Leiris, published in Glossaire j'y serre mes gloses (1939). Tawada's intercultural poetry, which can be described as {"}ideophonography,{"} is based on the language differences produced by translating words from a Western language into ideograms and back into the original language. The effect is a very mobile narrative, which dissolves language and makes it return again, thus generating surprisingly new meanings.",
author = "Arne Klawitter",
year = "2015",
month = "11",
day = "1",
doi = "10.1515/arcadia-2015-0024",
language = "German",
volume = "50",
pages = "328--342",
journal = "Arcadia",
issn = "0003-7982",
publisher = "Walter de Gruyter GmbH & Co. KG",
number = "2",

}

TY - JOUR

T1 - Ideofonografie und transkulturelle Homofonie bei Yoko Tawada

AU - Klawitter, Arne

PY - 2015/11/1

Y1 - 2015/11/1

N2 - The article tries to explain Yoko Tawada's writing techniques, particularly her experimental prose in Überseezungen (2002), a title that can be read and understood in three different ways as Oversea Tongues, as About Soles or as the German expression for Translations. I will analyze Tawada's usage of "scenic homophony" and "ideogrammic" procedures while drawing on insights from Michel Foucault's interpretations of Brisset and Roussel, and compare her ludic dictionary with the one of Michel Leiris, published in Glossaire j'y serre mes gloses (1939). Tawada's intercultural poetry, which can be described as "ideophonography," is based on the language differences produced by translating words from a Western language into ideograms and back into the original language. The effect is a very mobile narrative, which dissolves language and makes it return again, thus generating surprisingly new meanings.

AB - The article tries to explain Yoko Tawada's writing techniques, particularly her experimental prose in Überseezungen (2002), a title that can be read and understood in three different ways as Oversea Tongues, as About Soles or as the German expression for Translations. I will analyze Tawada's usage of "scenic homophony" and "ideogrammic" procedures while drawing on insights from Michel Foucault's interpretations of Brisset and Roussel, and compare her ludic dictionary with the one of Michel Leiris, published in Glossaire j'y serre mes gloses (1939). Tawada's intercultural poetry, which can be described as "ideophonography," is based on the language differences produced by translating words from a Western language into ideograms and back into the original language. The effect is a very mobile narrative, which dissolves language and makes it return again, thus generating surprisingly new meanings.

UR - http://www.scopus.com/inward/record.url?scp=84946821921&partnerID=8YFLogxK

UR - http://www.scopus.com/inward/citedby.url?scp=84946821921&partnerID=8YFLogxK

U2 - 10.1515/arcadia-2015-0024

DO - 10.1515/arcadia-2015-0024

M3 - Article

VL - 50

SP - 328

EP - 342

JO - Arcadia

JF - Arcadia

SN - 0003-7982

IS - 2

ER -