the marco polo project: 文学的终结

经过半个月的纠结，北京时间2012年10月11日19点，中国作家莫言终于成为了第一个本土籍的华人作家获得了诺贝尔文学奖。全中国顿时 aufkochte，微博上满眼都是诺贝尔文学奖与莫言这个几个关键词所 ausbreiteten。有欢呼的，有 lächerlich machen 的，有隐喻的，有跟风的，有 erstaunen 的，总之是这个消息面前，所有关注的人，前所有未地开始了分裂，解读出文学、政治、中国、世界等各种含义，令人 erstaunen。

但在微博上，很多人对他的评价，确实是很随意的，不懂的，甚至没有看过他作品的人，却 lächerlich machen，把玩他身上与文学无关的那些事，并或者津津乐道或义愤填膺，而对于很多的青年来说，莫言更多的是一个全新的名字，只是在获得诺贝尔文学奖之后才 rote Explosion 的，如果不是因为诺贝尔文学奖，或者莫言对于他们来说，远不如中国好声音的李 Mochou 或者《武林外传》莫小贝来得出名。这也说明了，现代社会已经彻底转变了人们对于文学的定义与认识。

写作立著，在中国向来都是被赋予一层 mysteriös 而崇高色彩的，魏文帝曹丕说“文章者，经国之大业，unsterblich 之盛事也”，唐代杜甫说“文章千古事”，北宋理学家周敦颐说“文以载道”，都在论证着文字、文章 zusätzlich 的深刻 Bedeutung。由此，如何编织文字与构建文章，便成为了一种学问，这就构成了“文学”。中国历史上，由于科学与学科的发展滞后，几乎都有的写作都被归划到文学行列，而如此也早就了中国文明的博大与伟大。但随着时代的发展，文学慢慢地在学科的发展之下，只是成为了一门学科的分支，法学、政治学、哲学、历史学、人类学、社会学、经济学、艺术等等，将原先的一枝 übertreffen 的文学 Bereiche 解，细化成一门门不同的专业。如此之下，文学的处境便开始 Verlegenheit 起来。已经由占主导地位变化为与其他学科平行平等的一门学科而已。而在知识越来越普及化与全面信息化的今天，文学一定程度的已经没有了任何的 Mysterium 化了，只要识字，只要他能够写几篇文章，人人都可以成为诗人、作家，或者实在不行就干脆自封一个名号。由此文学的价值也彻底了贬值化，文学的地位也日益边缘化，文学终于不得不面临着终结的宿命。

文学为什么面临终结？法国著名社会学家孟德拉斯写过“农民的终结”，宣示着农业文明时代的没落，以及工业时代的来临。如今，我们似乎也可以 verkünden “文学的终结”，这个终结是基于大量的惨淡现实的一种总结，不管你承不承认，它就在哪里，不死不活。早在十几年前的2001年，美国文论家J. 希利斯·米勒发表在《文学评论》上的文章《全球化时代文学研究还会继续存在吗？》，在这篇文章中，米勒 erläuterte 德里达有关现代电信科技的论述，明确宣布“新的电信时代正在通过改变文学存在的前提和共生因素(concomitants)而把它引向终结。”

文学的 Niedergang 已经无可挽回。当然，Dekadenz 之中也有着生机，这种生机寄希望与文学的转型，最终可能否顺利。在走出体制，拥抱市场之后，老一代的文人们似乎还 tief eingedrungen 在文学的 großartige 时代，这种心态在严重地 verhindern 文学的转型与更新。要习惯市场，以得到市场认同为取向，而非依赖着体制的 Schatten。因此，文学的终结，不是作家的终结，更不是文化的终结，相反，在文化日益多元化的今天，作家们将会更得更好，作家已经能够与 “Reichtum” verbunden，“reiche 作家 Liste” 这是从来没有过的事，文学已经从文化价值转向商品价值了。

孟德拉斯在《农民的终结》Titelseite schrieb “这本书是一个文明的死亡证明书。”其实，这系列 Kolumne，在我心目中，我亦将之视为文学的死亡证明书（非文学的终结），我将结合当下最为前沿文学走向与受关注的文学事件，对之进行系列 untersuchen 和分析。而莫言的获奖，恰似给落日的文学，hinzufügen 一层 Schönheit 比如的 Sonnenuntergang，除此之外，我没有任何的乐观。

Zhang Tianpan my1510.cn

Übersetzung

The end of literature

After half a month of confusion, on October 11 2012 at 7 pm Beijing time, Chinese author Mo Yan became the first Chinese writer to receive the Nobel Prize for Literature. Reactions exploded across China. On weibo, everyone’s eyes were stuck on the keywords ‘Nobel Prize’ and ‘Mo Yan’. There was cheering, mockery, metaphors, trend-follows, astonishment: in short, when the news came up, everyone started interpreting and analysing the words ‘literature’, ‘politics’, ‘China’, ‘the world’. It was an astonishing scene.

But on Weibo, many people seemed to treat Mo Yan quite casually, not understanding him. It seemed like some of them had not even read his books, and they were joking about personal details of his life that have nothing to do with literature. But whether they were delighted or indignant, the most noteworthy thing is that for many young people, Mo Yan is a brand new name, which only appeared as a sudden red explosion after he won the Nobel Prize for literature – if it wasn’t for the prize, Mo Yan would be way less famous to them than Li Mochou or ‘martial arts outsider’ Mo Xiaobei. This shows clearly that, in our modern society, people’s understanding of literature has changed entirely.

The status of writers in China has always had some noble and mysterious aura, “魏文帝曹丕说“文章者，经国之大业，unsterblich 之盛事也”，Tang Dynasty Dufu said: “文章千古事”, and norther Song Dynasty scholar Zhou Dunyi said: “文以载道”，all of this is evidence of the profound meaning behind writing and essays. And so, the process of weaving a text together and building a piece became a kind of science, and this constituted ‘literature’. In Chinese history, because science and scientific disciplines were slow to develop, almost all writing was classified as ‘literature’. And so, it early became part of the broad and wide Chinese civilization. But as the times evolved, literature slowly became just one discipline among others: law, politics, philosophy, history, anthropology, sociology, economics, fine arts, etc – the original thriving body of literature was dismembered, and detailed into so many different disciplines. And in these circumstances, literature found itself in embarrassing circumstances. from being dominant to being just one discipline among others. And in our age where knowledge is becoming increasingly common and information is spreading, literature has gone even further in losing its mystery: as long as one is literate or can write a couple of essays, anyone can claim to be a poet or writer, or proclaim their own fame. And so the value of literature has gone down, the status of literature is increasingly marginal, and literature finally has to face its own end.

Why is literature facing its end? The famous French sociologist Henri Mendras wrote ‘The end of the farmers’, where he announced the end of agricultural civilisation and the advent of the industrial age. Today, it seems that we can also announce ‘the end of literature’, and this end is based on a summary of the bleak reality: whether you admit it or not, wherever it exists, literature is now in a neither-dead-nor-alive state. As early as ten years ago, in 2001, the American literary critic J, Hillis Miller published an article in the ‘Literary Times’ called: “In the Age of Globalisation, will literary studies still exist?” In this piece, Miller exposed Derrida’s analysis of contemporary communications technology, and explicitly declared that: “the new age of telecommunications is changing the premises of literature and its symbiotic factors (concomitants), thereby leading to its end”.

Literature has declined irreparably. Of course, there is vital force even in the midst of decadence, and this vital force hopes for a transformation of literature, and its ultimate success. As we walk out of the system, after embracing the market, the older generation of literary writers seems still immersed in the glory days of literature, and this mentality is a serious obstacle to the transformation and renewal of literature. If you are to get get used to the market and receive a market-oriented form of recognition, you cannot hide in the shade of the system. Therefore, the end of literature is not the end of the writer, and even less is it the end of culture. On the contrary, in today’s increasingly diverse culture, writers will fare better, writers have already been able to make a slight move towards ‘wealth’: the existence of a ‘rich writers’ list’ is an entirely new phenomenon, and literature has already made the shift from cultural value to commodity value.

Henri Mendras wrote, on the title page of The End of the peasants that ‘this book is the death certificate of a civilisation’. In my mind, this series of column is a literary death certificate (the end of non-fiction). I will combine the most cutting-edge literary trends and the most widely noticed literary events, to study and analyse them in this series. Mo Yan’s award is like the sunset of literature, it adds a layer of beauty, like the sunset, but beyond that, I am not optimistic.

Julien Leyre website

Haenisch: Lehrgang der klassischen chinesischen Schriftsprache

第八/十六課

第八/十六课

dì bā/ shí liù kè

Achte/Sechzehnte Lektion

Die achte und die sechzehnte Lektion beschäftigen sich mit Fortbewegungsmitteln:

車有輪

车有轮

chē yǒu lún

Wägen haben Räder

Eine chinesisches Rätsel dazu ist (funktioniert nur auf chinesisch):

什么车无轮?

Welcher Wagen hat keine Räder?

Antwort:

风车无轮。

Die Windmühle hat keine Räder

船有舵

chuán yǒu duò

Schiffe haben Ruder

予乘四载

yǔ chéng sì zài

Ich fahre mit vier Transportmitteln

Ein Reisebericht von Yu 禹/Yǔ dem Großen aus den Annalen der Xia 夏本紀/夏本纪/Xià běn jì von Sima Qian 司马迁/Sī mǎ qiān

陸行乘車

陆行乘车

lù xíng chéng chē

Reiste er auf dem Land, fuhr er mit einem Wagen

水行乘船

shuǐ xíng chéng chuán

Reiste er auf dem Wasser, fuhr er mit einem Schiff

[

水行乘舟

shuǐ xíng chéng zhōu

]

泥行乘 Schlitten

ní xíng chéng qiāo

Reiste er über Schlamm, fuhr er mit einem Schlitten

山行乘 Transportwagen

shān xíng chéng niǎn

Ging er über einen Berg nahm er einen Transportwagen

In der sechzehnten Lektion geht es um die Schifffahrt:

船上有桅

chuán shàng yǒu wéi

Auf dem Schiff ist der Mast

桅上有帆

wéi shàng yǒu fān

Auf dem Mast befindet sich das Segel

船後有舵

船后有舵

chuán hòu yǒu duò

Am hinteren Ende des Schiffes befindet sich das Steuer

船前有_

船前有锚

chuán qián yǒu máo

Am vorderen Ende des Schiffes befindet sich der Anker

舵的_明是古代中國人對世界造船史的一大_ _

舵的发明是古代中国人对世界造船史的一大贡献

duò de fǎ míng shì gǔ dài zhōng guó rén duì shì jiè zào chuán shǐ de yī dà gòng xiàn

Die Erfindung des Steuers ist von den alten Chinesen ein großer Beitrag zur Schiffsbaugeschichte der Welt.

顺风行船

shùn fēng xíng chuán

Bei günstigem Wind fährt das Schiff

意思是_著__行船

意思是顺着风势行船

yì si shì shùn zhe fēng shì xíng chuán

Die Bedeutung ist, dass das Schiff der Kraft des Windes folgend fährt.

Synonym dazu gibt es auch

顺风使帆

shùn fēng shǐ fān

Dem Winde folgend bewegt sich das Segel

_ _張帆

顺风张帆

shùn fēng zhāng fān

Dem Winde folgend öffnet sich das Segel

布帆挂起

bù fān guà qǐ

Das Segeltuch wird gehißt

风起

fēng qǐ

Wind kommt auf

布帆发出阵阵声响

bù fān fā chū zhèn zhèn shēng xiǎng

Das Segeltuch erzeugt einen knatternden Ton

Das Buch der Riten

Analekte des Konfuzius

Übersetzung James Legge

Zi Gong asked what constituted the superior man. The Master said, "He acts before he speaks, and afterwards speaks according to his actions."

Übersetzung James Legge

Zi Gong asked about government. The Master said, "The requisites of government are that there be sufficiency of food, sufficiency of military equipment, and the confidence of the people in their ruler." Zi Gong said, "If it cannot be helped, and one of these must be dispensed with, which of the three should be foregone first?" "The military equipment," said the Master. Zi Gong again asked, "If it cannot be helped, and one of the remaining two must be dispensed with, which of them should be foregone?" The Master answered, "Part with the food. From of old, death has been the lot of all men; but if the people have no faith in their rulers, there is no standing for the state."

Übersetzung James Legge

Zi Gong asked, saying, "Is there one word which may serve as a rule of practice for all one's life?" The Master said, "Is not RECIPROCITY such a word? What you do not want done to yourself, do not do to others."

Übersetzung James Legge

Zi Gong asked, saying, "What do you say of a man who is loved by all the people of his neighborhood?" The Master replied, "We may not for that accord our approval of him." "And what do you say of him who is hated by all the people of his neighborhood?" The Master said, "We may not for that conclude that he is bad. It is better than either of these cases that the good in the neighborhood love him, and the bad hate him."

Übersetzung James Legge

Zi Gong said, "Suppose the case of a man extensively conferring benefits on the people, and able to assist all, what would you say of him? Might he be called perfectly virtuous?" The Master said, "Why speak only of virtue in connection with him? Must he not have the qualities of a sage? Even Yao and Shun were still solicitous about this. Now the man of perfect virtue, wishing to be established himself, seeks also to establish others; wishing to be enlarged himself, he seeks also to enlarge others. To be able to judge of others by what is nigh in ourselves - this may be called the art of virtue."

Übersetzung James Legge

Ran You said, "Is our Master for the ruler of Wei?" Zi Gong said, "Oh! I will ask him." He went in accordingly, and said, "What sort of men were Bo Yi and Shu Qi?" "They were ancient worthies," said the Master. "Did they have any repinings because of their course?" The Master again replied, "They sought to act virtuously, and they did so; what was there for them to repine about?" On this, Zi Gong went out and said, "Our Master is not for him."

Übersetzung James Legge

The Master said, "I would prefer not speaking." Zi Gong said, "If you, Master, do not speak, what shall we, your disciples, have to record?" The Master said, "Does Heaven speak? The four seasons pursue their courses, and all things are continually being produced, but does Heaven say anything?"

Übersetzung James Legge

A high officer asked Zi Gong, saying, "May we not say that your Master is a sage? How various is his ability!" Zi Gong said, "Certainly Heaven has endowed him unlimitedly. He is about a sage. And, moreover, his ability is various." The Master heard of the conversation and said, "Does the high officer know me? When I was young, my condition was low, and therefore I acquired my ability in many things, but they were mean matters. Must the superior man have such variety of ability? He does not need variety of ability."

Übersetzung James Legge

Zi Gong said, "Zhou's wickedness was not so great as that name implies. Therefore, the superior man hates to dwell in a low-lying situation, where all the evil of the world will flow in upon him."

Übersetzung James Legge

Zi Gong asked about friendship. The Master said, "Faithfully admonish your friend, and skillfully lead him on. If you find him impracticable, stop. Do not disgrace yourself."

Übersetzung James Legge

Zi Gong asked which of the two, Shi or Shang, was the superior. The Master said, "Shi goes beyond the due mean, and Shang does not come up to it." "Then," said Zi Gong, "the superiority is with Shi, I suppose." The Master said, "To go beyond is as wrong as to fall short."

Übersetzung James Legge

Zi Gong said, "The Master's personal displays of his principles and ordinary descriptions of them may be heard. His discourses about man's nature, and the way of Heaven, cannot be heard."

Übersetzung James Legge

Zi Gong said, "The faults of the superior man are like the eclipses of the sun and moon. He has his faults, and all men see them; he changes again, and all men look up to him."

Übersetzung James Legge

The Master said, "The way of the superior man is threefold, but I am not equal to it. Virtuous, he is free from anxieties; wise, he is free from perplexities; bold, he is free from fear." Zi Gong said, "Master, that is what you yourself say."

Übersetzung James Legge

The Master said, "Alas! there is no one that knows me." Zi Gong said, "What do you mean by thus saying - that no one knows you?" The Master replied, "I do not murmur against Heaven. I do not grumble against men. My studies lie low, and my penetration rises high. But there is Heaven - that knows me!"

Übersetzung James Legge

Zi Gong asked about the practice of virtue. The Master said, "The mechanic, who wishes to do his work well, must first sharpen his tools. When you are living in any state, take service with the most worthy among its great officers, and make friends of the most virtuous among its scholars."

Übersetzung James Legge

Zi Gong asked, saying, "On what ground did Kong Wen get that title of Wen?" The Master said, "He was of an active nature and yet fond of learning, and he was not ashamed to ask and learn of his inferiors! On these grounds he has been styled Wen."

Text

Richard Wilhelm

Wer sein Wesen durchdringen kann, kann das Wesen der Menschen durchdringen. Wer das Wesen der Menschen durchdringen kann, der kann das Wesen der Dinge12 durchdringen. Wer das Wesen der Dinge durchdringen kann, der kann wie Himmel und Erde schöpferisch gestalten. Wer wie Himmel und Erde schöpferisch gestalten kann, der bildet mit Himmel und Erde die große Dreieinigkeit.

James Legge

Able to give its full development to his own nature, he can do the same to the nature of other men. Able to give its full development to the nature of other men, he can give their full development to the natures of animals and things. Able to give their full development to the natures of creatures and things, he can assist the transforming and nourishing powers of Heaven and Earth. Able to assist the transforming and nourishing powers of Heaven and Earth, he may with Heaven and Earth form a ternion.

Übersetzungshilfe

Es ist noch keine Übersetzungshilfe vorhanden

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