sexta-feira, janeiro 16, 2009

Festival des Deutschsprachigen Filmes in Lissabon



Ich freue mich ganz besonders Ihnen das Programm des Festivals des deutschen Films vorzustellen:



Wer deutsche Filme mag, hat eine grosse Möglichkeit die deutsche Sprache zu üben und deutsche Filme anzusehen!

sábado, janeiro 10, 2009

Drachenfutter: "Aforismos" by Frank Kafka, Álvaro Gonçalves (translator)

(My own copy)


(original review, 2009)

The Portuguese etymological dictionary of Jose Pedro Machado informs that the word aphorism derives from the Greek and arrived at the Portuguese language through late Latin aphorismu-, with the meaning of "limitation, brief definition, sentence". It adds that, in time (already documented in the 16th century), the term has come to be called "a brief and indisputable sentence, which sums up a doctrine."

Kafka resorted to the aphorism, what he called “Schreiben als Form des Gebetes” in his conversations (for example, with the poet Gustav Janouch, author of the book Conversations with Kafka, 1953) and in the course of his career as a writer. One of the main collections of these "short and indisputable sentences" was published in the small posthumous book Er, from the diary notes that the writer kept from 1909 to 1923-24.

When I was learning German, my teacher told me to buy Kafka’s book on Aphorisms. It reminds me of a joke this German teacher told me afterwards about the simplicity of German (Rilke is much more synthetic than Kafka, for example, but the joke can still be applied to Kafka).

I’m paraphrasing; this happened a long time ago.

"To illustrate how simple it is, let us study an example. First we take a book in German, in this case a magnificent hard-cover volume published in Dortmund, which deals with the habits and customs of the indigenous Australians called Hottentots (in German “Hottentotten”)

The book tells us that kangaroos (Beutelratten) are captured and put in cages (Kisten) which are covered with a fabric (Lattengitter) to protect them from the weather. These cages in German are, naturally, called “cages covered with fabric” (Lattengitterkisten) and , when they have a kangaroo in them, we call the compound “a covered cage with a kangaroo” (Lattengitterkistenbeutelratten)

One day the Hottentots caught an assassin (Attentater) accused of having murdered the mother (Mutter) of a Hottentot boy (Hottentottermutter) who was deaf and dumb (Stottertrottel)
This woman is called Hottentottenstottertrottelmutter, and her assassin is, of course , called
Hottentottenstottertrottelmutterattentater.

In the book, the Hottentots capture the assassin and, not having anywhere else to keep him, put him in a kangaroo cage (Lattengitterkistenbeutelratten) from which he subsequently escaped. After organising a search, a Hottentot warrior shouts :

“We have captured an assassin” (Attentater)

“Which one?” asks the Hottentot Chief.

“The Lattengitterkistenbeutelrattenattentater, “ replied the warrior.

“What? The assassin who was in the kangaroo cage covered with fabric ?” says the Chief.

“Yes, replied the warrior with some difficulty, the Hottentottenstottertrottelmutterattentater (murderer of the mother of the deaf and dumb boy)

“Hells bells!” replied the Chief, “You should have told me immediately that you had captured the
Hottentottenstottertrottelmutterlattengitterkistenbeutelrattenattentater !”

From the above we can see how easy German is. All that’s needed is a little motivation"

That was my teacher’s polite way of saying to me not give up on German...I think...Or maybe not to be a lazy ass...



The most relevant factual aspect of the 109 Aphorisms gathered in Álvaro Gonçalves’ translation, is that they resulted from a selection made by the author after having been cleaned by hand with the evident intention of giving them to the public. Everything indicates that there was not enough time to make that decision. Kafka's discretion went so far as to explain his (fortunately failed) attempt to ask his friend Max Brod to destroy the unpublished writings during his lifetime.

NB: The basis for this work was the volume Beim Bau der Chinesischen Mauer und Andere Schriften aus dem Nachlass, included among the 12 volumes of the pocket edition elaborated according to the original manuscripts of the edition criticism of the works of Franz Kafka (Hans-Gerd Koch's organization, Frankfurt a. M .: Fischer Taschenbuch Verlag, 1994). Álvaro Gonçalves makes a reference to this on page 34.

PS. My favourite German word of all is drachenfutter, literally meaning 'dragon fodder', which is a present that a husband/boyfriend presents to his wife/girlfriend as a peace offering having pissed her off. I love the images the word brings to mind!   

My favourites (#22, #68, #94):






:


sexta-feira, janeiro 09, 2009

Welche Nation hat das beste Image?

Bestes Image für Deutschland.

Das ist das Ergebnis des Anholt-GfK Nation Brands Index (NBI).

Anholt-GfK Roper Nation Brands Index 2008 Ranking (insgesamte Klassifizierung):



Bestimmte Klassifizierungen:



Die Hoffnung Portugals stirbt zuletzt...

quarta-feira, janeiro 07, 2009

Favourite German-speaking Poets

I’ve been asked this a couple of times, but it’s impossible to answer… They’re so many…

Off the top of my head: Rilke, Heine, Hölderlin, Novalis, Schiller, Brecht, Eichendorff, Goethe, Mörike, Trakl (the poem “De profundis” pops to mind), Enzensberger, …

I’ve recently discovered Peter Handke’s Poetry. It’s not only the Prose that is worth praising I can assure you. Those of you who want to discover a “new” voice in the German-speaking Poetry Firmament look no further. His Poetry has modern tendencies (e.g., experimentation with language), which I believe will not be everyone’s cup of tea. Nevertheless the rewards are worth pursuing. “Gedicht an die Dauer” (“Poema à Duração”) where the continuity of time represents the main theme is one of my personal favourites. This poem proves that not only his prose, film scripts and theater plays should be read but his Poetry as well.

Befitting the festivities here goes two German poems/songs, one for Christmas (by Karl Bartsch) the other one for the New Year (by von Hebel):

Weihnachtslied

Ein Kindlein ist gekommen
Vom hohen Himmelssaal,
Das hat hinweggenommen
Der Erde Weh und Qual.

In einer Krippe liegen
Sieht man das Gotteskind,
In dem sich niederbiegen
Der Esel und das Rind.

Damit wir Frieden hätten
Von unsrer Sünde Last,
Ließ sich so niedrig betten
Der königliche Gast.

Da hörten frohe Märe
Die Hirten auf dem Feld,
Daß uns geboren wäre
Der Heiland aller Welt.

Des Dankes Lieder klangen
Zum Himmel nah und fern;
Viel Tausend Englein sangen:
Lob, Ehr' und Preis dem Herrn!

(Karl Bartsch)

Neujahrslied

Mit der Freude zieht der Schmerz
traulich durch die Zeiten.
Schwere Stürme, milde Weste,
bange Sorgen, frohe Feste
wandeln sich zur Seiten.

War´s nicht so im alten Jahr?
Wird´s im neuen enden?
Sonnen wallen auf und nieder,
Wolken gehn und kommen wieder,
und kein Wunsch wird´s wenden.

Und wo eine Träne fällt,
blüht auch eine Rose.
Schön gemischt, noch eh wir´s bitten,
ist für Thronen und für Hütten
Schmerz und Lust im Lose.

Gebe denn, der über uns
wägt mit rechter Waage,
jedem Sinn für seine Freuden,
jeden Mut für seine Leiden
in die neuen Tage.

Jedem auf des Lebens Pfad
einen Freund zur Seite,
ein zufriedenes Gemüte
und zu stiller Herzensgüte
Hoffnung ins Geleite.

(Johann Peter Hebel)

Theater, Gespräch und Theaterabend mit Dea Loher




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Theater und Gespräch mit Dea Loher:

Die deutsche Theaterregisseurin Dea Loher kommt nach Lissabon. Nach der letzten Aufführung des Theaterstückes „Imaculados“ (Unschuld) im Teatro Aberto, am Sonntag, den 11. Januar 2009, spricht Dea Loher mit Vera San Payo de Lemos, João Lourenço, Schauspielern des Teatro Aberto und dem Publikum. Moderation: Joachim Bernauer.

Sonntag, 11. Januar 2009, 16.00 Uhr:
Teatro Aberto

Theaterabend mit Dea Loher:

Die Theatergruppe Artistas Unidos liest Szenen aus Dea Lohers Stücken “Unschuld” und “Tätowierung”, in der portugiesischen Übersetzung von José Maria Vieira Mendes. Anschließend findet eine Diskussionsrunde mit Dea Loher, Vera San Payo de Lemos und José Maria Viera Mendes statt. Es moderiert Jorge Silva Melo.

Dienstag, 13. Januar 2009, 18.30 Uhr:
Goethe-Institut in Lissabon
Nähere Informationen: http://www.goethe.de/ins/pt/lis/ver/de4027602v.htm