Suchergebnisse

This essay reflects on the many different strategies involved in translation, which is both a linguistic and a cultural-historical strategy. Examples from the Middle Ages and the Modern Age are adduced to illustrate the huge impact which translations have had on peoples and societies throughout time.

Dynastic marriage in the Europe of the ancien régime is built upon the assumption that a high-born woman will leave her natal family and the territory she grew up in and travel to the court and territory of her spouse. Were these foreign-born queens consort able to graft elements that they had brought with them onto the culture they found when they arrived in their new country and so create a new cultural synthesis? What elements from their marital court did they send back home? In other words, did these women function as agents of cultural transfer between their natal and their marital courts, and to what extent was this an ongoing process? What were the factors—personal and political—that enabled one queen to be an active cultural agent and another not? What theories of cultural transfer are useful in examining the influence of these queens? Are there specific features of court culture that distinguish cultural transfer between courts from other cases of transfer? By the mid-eighteenth century is the influence of France so pervasive that the court has become a transnational space? The example chosen to illuminate these questions is Maria Amalia, Princess of Saxony and Poland (1724–1760), who on her marriage in 1738 became Queen of the Two Sicilies and from 1759 was Queen of Spain.

Bluestocking Feminism and British-German Cultural Transfer, 1750–1837 examines the processes of cultural transfer between Britain and Germany during the Personal Union, the period from 1714 to 1837 when the kings of England were simultaneously Electors of Hanover. While scholars have generally focused on the political and diplomatic implications of the Personal Union, Alessa Johns offers a new perspective by tracing sociocultural repercussions and investigating how, in the period of the American and French Revolutions, Britain and Germany generated distinct discourses of liberty even though they were nonrevolutionary countries. British and German reformists—feminists in particular—used the period's expanded pathways of cultural transfer to generate new discourses as well as to articulate new views of what personal freedom, national character, and international interaction might be.

The research objective is to study the phenomenon of transferring organizational practices which are conceptualized in one culture to another different culture. The purpose of the study is (1) to understand how cultural values and beliefs are manifested in behavior; (2) to explore how the Western organizational practices are interpreted and assimilated into an organization in an Eastern culture; and (3) to explore strategies for the fit between local cultural orientations and imported organizational practices. A qualitative, interpretive, and reflexive research methodology was developed to conduct this study. The study was conducted in two phases. The first phase was designed to develop an indigenous perspective of the Chinese culture and behavior and to investigate the cultural interplays in the context of transferring organizational practices from the Western culture to the Chinese culture. This phase was mainly conducted in a large industrial organization in China, complemented by limited data collected from several other organizations. Three major social groups--the government, the management, and the employees--all of which have a major stake in the case organization were investigated by indepth interviews. This was to identify how each of them constructed their own realities, and how their realities were shared and in conflict with each other in the organizational context. Limited observation and document analysis were used to complement the interview findings. Cases where imported organizational practices were integrated with the Chinese culture were examined. The second phase of the study was conducted in the USA. Cross-cultural informants--those Chinese who had both work experiences in the People's Republic of China (the PRC) and the USA and had a cross-cultural perspective were interviewed. This was designed to facilitate an understanding of the Chinese culture and behavior in the context of other cultures. During the two phases of the study, a meta-research method was applied to observe the influence of the researcher upon the research process. The researcher's influence on the research data was examined. A model for cross-cultural transfer of organizational practices was developed. Implications for the study of organization and culture, the construction of meanings in the context of cross-cultural transfer of organizational practices, organizational change in a cultural context, the case organization, and the development of Chinese organizational and management theories were examined. Suggestions for future research were also made.

This volume deals with the field of Belgian-German cultural relations during the Nazi occupation of Belgium (1940-1944) from the perspective of the cultural transfer paradigm. Considering the highly political charged context of a totalitarian regime, which is, in this case, simultaneously occupying and waging war with its cultural 'partners", we are obviously dealing with large asymmetries of power and a censorship system that 'blocks, manipulates and controls [.] crosscultural communication'.1 We can therefore assume that the terms of the cultural 'dialogue' were unilaterally determined by the Nazi German censorial institutions for the purposes of both promoting their ideological world views and realizing the foreign policy goals of the regime. The approach of cultural transfer research allows us to differentiate this assumption without relativizing the overtly repressive and destructive nature of Nazi dictatorship. With its focus on individual agency and interactions, it enables us to further analyse the intricacy of the politically dominated cultural exchange. More specifically, it helps to reveal the – often competing – factors that shaped the transfer and transformation of cultural products, while also displaying the marked tension between the highly repressive totalitarian system and the actual agency of cultural agents.

This volume deals with the field of Belgian-German cultural relations during the Nazi occupation of Belgium (1940-1944) from the perspective of the cultural transfer paradigm. Considering the highly political charged context of a totalitarian regime, which is, in this case, simultaneously occupying and waging war with its cultural 'partners", we are obviously dealing with large asymmetries of power and a censorship system that 'blocks, manipulates and controls [.] crosscultural communication'.1 We can therefore assume that the terms of the cultural 'dialogue' were unilaterally determined by the Nazi German censorial institutions for the purposes of both promoting their ideological world views and realizing the foreign policy goals of the regime. The approach of cultural transfer research allows us to differentiate this assumption without relativizing the overtly repressive and destructive nature of Nazi dictatorship. With its focus on individual agency and interactions, it enables us to further analyse the intricacy of the politically dominated cultural exchange. More specifically, it helps to reveal the – often competing – factors that shaped the transfer and transformation of cultural products, while also displaying the marked tension between the highly repressive totalitarian system and the actual agency of cultural agents.

The increasingly intensive cultural, information, language, political and economic contacts and exchanges between countries and the developement of different new technologies make it necessary to foresee some media communications which from the beginning are addressed to recipients of different cultures. The Franco-German channel Arte, a European company is an example of this conception. It is responsible for the production and diffusion of cultural programmes which are aimed at various national audiences. Part of that as Arte broadcasts simultaneously all its programmes in two languages: French and German, it is necessary to use translators and interpreters who make it possible for the French audience to watch the German version and vice versa. In the following article, the results of our study about the translation of sociocultural aspects via Arte will be presented. First we will talk about the specific characteristic of the translation in the media -which apart from words also includes images. We will also show that sometimes an extra explanation is required to understand what is shown in the programme. Eventually, we will introduce the different procedures of translation used by translators when they are confronted with a term related to sociocultural aspects. Some samples from Arte TV news will be provided as a support for this article. ; The increasingly intensive cultural, information, language, political and economic contacts and exchanges between countries and the developement of different new technologies make it necessary to foresee some media communications which from the beginning are addressed to recipients of different cultures. The Franco-German channel Arte, a European company is an example of this conception. It is responsible for the production and diffusion of cultural programmes which are aimed at various national audiences. Part of that as Arte broadcasts simultaneously all its programmes in two languages: French and German, it is necessary to use translators and interpreters who make it possible for the French audience to watch the German version and vice versa. In the following article, the results of our study about the translation of sociocultural aspects via Arte will be presented. First we will talk about the specific characteristic of the translation in the media -which apart from words also includes images. We will also show that sometimes an extra explanation is required to understand what is shown in the programme. Eventually, we will introduce the different procedures of translation used by translators when they are confronted with a term related to sociocultural aspects. Some samples from Arte TV news will be provided as a support for this article.

"Science" is part of Western cultural history and expansion. The "Western" scientific approach based on the separation of subject and object over centuries has led to manifold constructive achievements to ease life as well as to systematic exploitation and destruction of the earth and its inhabitants. Scientists are change agents and many seriously interfere with traditional values, for better of for worse, at a speed which people cannot cope with. Today, more than before, scientists are asked to identify problems of science-based cross-cultural interaction which may be more destructive than helpful. This is as true for the fields of medical science and its applications, though less conspicious at the first glance, as for other sciences. Although the natural science paradigm of medicine is universally relevant, the practical applications of it in terms of medical care are not at all. Many sociocultural, economic, educational and political barriers exist, as well as differences in explanatory models of health, causes of disease and healing in different cultures, including the Western one. A dialogue between cultures, between sciences and humanities, is urgently meeded to make science, and scientific medicine for that matter, universally relevant to mankind.

This paper aims to explore the way in which Harry Potter's made-upness is subtitled for a contemporary Chinese audience. It will specifically underline how the official Chinese subtitles[1] mediate the cultural specificities which characterise the transnational world of Harry Potter. Jerry Griswold's (2006, 1-2) findings on children's literature that key characteristics including "scariness, smallness, flying, aliveness" serve compellingly to the majority of the children will be applied to the categorisation of the representative instances in this case analysis. 'Magic', as an extension of Griswold's category of 'aliveness', will be also considered to analyse the quintessential cultural transfer between Britain and China. The paper will be concluded by the fact that a high level of creativity is required from the subtitler to bridge the considerable linguistic and cultural gap between both countries in relation to the subtitling process of witchcraft and wizardry in Harry Potter and the Sorcerer's Stone (2001).[1] Different from the fansubbing, the official subtitles offer a stable body of work. They also underline an extra layer of cultural intervention in keeping with André Lefevere's (2002, 14) writing on the cultural institutions which shape the process of translation because the subtitles in question have not only been filtered through the Chinese translator's perspective, they have also been mediated by the government office which oversees the films chosen for subtitling and the way in which they are subtitled.

Defence date: 8 June 2009 ; Examining Board: Prof. Bartolomé Yun-Casalilla (European University Institute, Florence) - supervisor, Prof. James S. Amelang (Universidad Autónoma, Madrid), Prof. Heinz-Gerhard Haupt (European University Institute, Florence), Dr. Katrin Keller (University of Vienna) ; First made available online on 25 October 2017. ; This study aims to reveal traces of Spanish cultural influences on the seventeenth-century Austrian Habsburg monarchy, or to be more precise, on courtly and aristocratic culture. The focus is however less on the ruling houses, but rather more on the aristocratic society and its contribution to cultural transfer processes from Spain to Austria. Tracing themes of alteration in aristocratic selfrepresentation, evoked by political, social and cultural changes in the late sixteenth and early seventeenth centuries, this study examines the role of culture in general, and cultural borrowings in particular, in the process of aristocratic re-invention. "A nobleman has to be curious", Prince Karl Eusebius Liechtenstein once argued. "Thereby he distinguishes himself from the ordinary man." This curiosity in every respect was beyond any doubt a decisive factor for cultural transfer processes.

Campos en tensión: política, estética e importación cultural en el Cono Sur (1930-1990)

ABSTRACT "Recovering Jelinek for the English-Speaking Stage – Problems of Inter-Cultural Transfer in Elfriede Jelinek's Plays and Theatrical Strategies to Fill the 'Gap of Translation'" is a research project in the field of Theatre Performance. The thesis consists of three parts. Parts I and III are a written dissertation. Part II is a production of Elfriede Jelinek's Princess Dramas: "Snow White", "Sleeping Beauty" and "Jackie" (Part II). The production took place at Red Stitch Actors Theatre in Melbourne (8 June – 2 July 2011). Footage of the production is available on two DVDs that are included in the thesis. The research project aims to understand the reasons behind the near absence of the Austrian Nobel Prize (2004) winner's plays on English-speaking stages and adopts a 'poetics of an arriving artist' as theoretical foundation for the first staging of one of Jelinek's works in Australia. The written dissertation of the project touches on issues of literary theory, inter-, multi- and transculturality and post-colonial studies, translation studies and performance theory. The thesis relies on the metaphor of the palimpsest as a hinge between its diverse parts. It uses the notion of 'palimpsesting' in order to describe a core strategy for meaning making and exploits 'the palimpsest' as a figure of thought for elaborating a series of productive theatrical strategies. The proposal of cultural bridging strategies and their realisation within the context of staging Princess Dramas in Melbourne (Australia) is one important focus of this project. It concerns mainly the area of aesthetics and artistic poetics. In addition, the project has a strong ethical and political focus. It scrutinises the ethical dangers implied in the post-structuralist foundations of its poetics and discusses the dilemma of unbound (ethical) freedom that can turn into boundless (physical) violence. It examines various scenarios where strategies of empowerment can lead to effects of disempowerment and links this discussion to the problematic essentialisms of current Australian discourses of indigeneity. Discussing the image and/or function of the artist in modernity against the background of a range of theories such as the German Romantic concept of 'Bildung', Niklas Luhmann's concept of art as a social system and several legal and political theories such as Jeremy Waldron's study on Law and Disagreement, the thesis comes up with a series of strategies that aim to ensure responsible artistic action within the parameters of a liberal democracy. Part I (Before the Staging) is dedicated to "The Aesthetics (or Poetics) of Staging a Play". It is the shorter part of the written dissertation and consists of four condensed chapters. They introduce the situation of the near absence of Elfriede Jelinek's plays on English-speaking stages and establish the idea of homesickness as a productive motor for cultural transfer. They introduce Elfriede Jelinek's complex writing strategies and name the deconstructive and mythoclast agenda behind Jelinek's work as one of the main motivations for my staging of Princess Dramas in Australia. The re-thinking of the structuralist version of the 'palimpsest' (Gérard Genette) against the background of post-structuralist theories (mainly Roland Barthes and Julia Kristeva) takes an important share of this part which also connects the theoretical discussion to some episodes of my arrival in Australia as theatre maker and researcher. The last chapter explores the productivity of terms such as 'palimpsesting', 'palimpsestic' and 'palimpsestuous' for the requirements of staging theatre plays. It proposes a dramaturgy of palimpsestic approximation in order to deal with Jelinek's overly dense work and invites to scrutinize the foundations and borderlines of national-cultural categories. Casting an Indigenous actress in the part of Jackie is suggested as a strategy of naturalising Jelinek as a meaningful Austr(al)ian author. Part II (The Production) consists of the production of Elfriede Jelinek's Princess Dramas: "Snow White", "Sleeping Beauty" and "Jackie" at Red Stitch Actors Theatre in Melbourne. The thesis comprises two DVDs that provide footage of the production. DVD 1 presents a full run of the production and DVD 2 offers additional material. The material consists of twelve extract clips that are mostly shot from a closer angle than the full shot angle of DVD 1. Part III (After the Staging) is dedicated to "The Ethics (and Politics) of Staging a Play". It presents the major share of the written dissertation and is divided into three subdivisions. Subdivision I ("Staging Jelinek's Princess Dramas in Australia – Dangerous Decisions and Multiple Circumstances") deals with a range of aspects linked to the ethics of staging Princess Dramas in Australia. The six chapters touch on issues of decision-making and artistic responsibility versus post-structural aesthetics, discuss different concepts of 'mise-en-scène'/'staging'/'Inszenierung' and 'violence' as part of the circumstance(s) of staging a play, and relate these discussions to cultural policy debates in Australia. John L. Austin's notion of 'appropriate circumstances' of an utterance is introduced and Janelle Reinelt's recent demand for embracing a new artistic responsibility in an increasingly globalising world is considered an important theoretical framework of this part of the thesis. Key issues are the relationship between theatre and 'radical democracy', (self-)censorship and 'political correctness'. The theoretical discussion is linked to our/my decisions made during the process of staging Princess Dramas in Australia and to the choice of casting an Indigenous actress for the role of Jackie. Important issues of agency, ethical responsibility and guilt are revised by comparing different conceptions of artistic processes and aesthetic products in the realm of theatre in both languages, English and German. In a similar manner, the cultural relativity of concepts of violence and a loose typology of different kinds of violence is discussed by putting a particular focus on the notion of 'structural violence' and 'violence of categories' (Maryrose Casey after Emmanuel Levinas). The last chapter of this subdivision deals with questions of art and aesthetics with regard to the material needs and/or financial dependencies of art producers and discusses concepts of 'inter-, multi- and transculturality'. Subdivision II ("'The Artist' As (Civilising) Leader or (Moral) Outlaw – My Self-Image As Theatre Maker at the Intersection of Philosophy, Law and Politics") discusses the function of the artist in society and related questions of artistic licence against the background of legal and political theories. It links the theoretical discussion to the concrete case of staging Princess Dramas in Australia. The two chapters touch on issues of artistic relevance and the social authority of artists, censorship, the concept of 'Bildung' (Franz-Josef Deiters after Friedrich Schlegel et al.), the notion of art as a social system (Niklas Luhmann) and a series of intersections between art practice and legal/political systems (Jeremy Waldron, J.M. Balkin, Sanford Levinson and others). Subdivision III ("A Conclusion and an Afterthought – Arriving as Palimpsestuous Process, Or Accepting the Artist as Phenomenon and Signifier") offers a general conclusion about the artists' rights and obligations which is based on the artists' proposed function in a liberal democracy. It also spells out the consequences that this position has for our/my staging of Princess Dramas in Australia. The ethics of artistic practice is linked to an unavoidable decision in favour of one possible belief system – in my case, liberal democracy. Being conscious of the aporias of liberal democracy, in the afterthought I formulate a challenging question that must guide the entire project: How can I act in this country that I like for its easy-going (or reckless?) celebrations of 'beach, chardonnay and sun' without pushing you, the Other (the Indigenous) – who obviously only exists as a hollow conceptual carcass – ever more to its borders? It is suggested that withstanding the contradictions between (rich) phenomena and (necessary) concepts by raising, again and again, the question of the fine line between German and non-German (or Austrian), Australian and non-Australian, and Indigenous and non-Indigenous as a first step in my quest of and for arriving in Australia be an apposite strategy to avoid an endless repetition of the 'First Step' (or arrival of the First Fleet) and its concomitant ideology of terra nullius.

The influence and spread of traditional Balinese music over time and across regions has been conducted through a number of different channels. In addition to locally-focused efforts, cultural transfer has also contributed to the preservation of traditional Balinese arts. From the self-interested, strategic support of gamelan music by Japanese occupational forces to the global experimental music scene today, Balinese arts have been shared, supported, translated, and appropriated in various ways by a number of different actors to political, artistic, and commercial ends. Building on Michel Espagne's definition of cultural transfer and Stephen Greenblatt's concept of cultural mobility, this paper aims to outline different modes of cultural transfer (or "bridges," as Espagne would say), with explicit attention to power dynamics and multi-way flows of influence. Several key historical and contemporary examples of the transfer of traditional Balinese music will be discussed in an effort to better understand the relationship between cultural transfer and preservation.

The purpose of the article is to suggest a new conceptual understanding of the of cultural transfer role in the birth of museum in Belarusian lands ("museum transfer"), within a comprehensive study of this phenomenon as an integral, organic part of the national culture. The methodological basis of the research has become the universal scientific principles of objectivity, systematic and comprehensiveness, as well as comparative-historical, historical-typological, problem-chronological and structural-functional methods. The study was carried out in the framework of M. Espagne cultural transfers concept. The scientific novelty of the article. The work proposes a new term, 'museum transfer'. Its structure and functioning mechanisms are illustrated employing major early Belarusian museum cases. The place and role of the museum transfer in the system of cultural interactions is determined. Сonclusions. The emergence of museum as a social institution in the Belarusian lands was a result of cultural transfer – a dynamic process of intercultural communication. At the initial stage, the cultural 'translation' of Western European museum ideas and practices into the language of Belarusian culture was ultimately unsuccessful in most cases. Museum projects of F. Skaryna, N. K. Radziwill, A. Jabłonowska, J. E. Gilibert, G. Gruber, E. P. Tyszkievicz did not find wide support in the traditional, archaic agrarian society and as a result of socio-political and military cataclysms quickly disappeared. Nevertheless, they laid the foundation on which the modern museum network, museum profession, museum traditions in the Republic of Belarus were formed.

During the last two decades, public sector experienced a number of management, accounting and policy changes. As a consequenc e the actors role had to meet the new accountability and responsibility requirements. The article aims at analyzing the role of internal audit committee in the Italian local government context and the attitude of auditors to transfer managerial culture to public authorities. Thus, the survey conduced over the auditors technical, human and conceptual attributes allows to underline the important strength and weakness auditors have as 'agent of change'.