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 language | German |
|---|---|
| Pages (from-to) | 328-342 |
| Number of pages | 15 |
| Journal | Arcadia |
| Volume | 50 |
| Issue number | 2 |
| DOIs | |
| Publication status | Published - 2015 Nov 1 |
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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 journal › Article
}
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.
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U2 - 10.1515/arcadia-2015-0024
DO - 10.1515/arcadia-2015-0024
M3 - Article
AN - SCOPUS:84946821921
VL - 50
SP - 328
EP - 342
JO - Arcadia
JF - Arcadia
SN - 0003-7982
IS - 2
ER -