eJournals Kodikas/Code 38/1-2

Kodikas/Code
kod
0171-0834
2941-0835
Narr Verlag Tübingen
Es handelt sich um einen Open-Access-Artikel, der unter den Bedingungen der Lizenz CC by 4.0 veröffentlicht wurde.http://creativecommons.org/licenses/by/4.0/61
2015
381-2

Visual Representativeness in Uncomprehended Script and Martial Script

61
2015
Yûji Nawata
The article examines the visual representativeness of script as described in modern German literature. Some texts of Marcel Beyer (1965-) and Thomas Kling (1957-2005) depict incom-prehensible letters while emphasizing their visual character. Both authors show that political conditions such as war can make script appear as image. "perky as a word I can't even pronounce" (Yi Sang, 'The Wings 62')
kod381-20059
K O D I K A S / C O D E Ars Semeiotica Volume 38 (2015) · No. 1 - 2 Gunter Narr Verlag Tübingen Visual Representativeness in Uncomprehended Script and Martial Script Examples from Contemporary German Literature 1 N AWATA Yûji (Tokyo) The article examines the visual representativeness of script as described in modern German literature. Some texts of Marcel Beyer (1965 - ) and Thomas Kling (1957 - 2005) depict incomprehensible letters while emphasizing their visual character. Both authors show that political conditions such as war can make script appear as image. “ perky as a word I can ’ t even pronounce ” (Y I Sang, The Wings 62) Let us begin first by considering classical standard Chinese, which was the lingua franca of East Asia from antiquity until the 20th century. Chinese script is logographic, i. e. a character stands primarily for a word and not for a unit of sound. The phonetic matrix, i. e. how a character is pronounced in which linguistic environment, exhibits numerous regional and historic variants. However, no matter how it was pronounced, people were able to communicate across vast Asian regions using standard Chinese for centuries or even millenia, for in this logography the sound level plays only a secondary role. In the phonography of the alphabet the characters stand primarily for units of sound. It is a complex system: the characters must first be perceived visually and then coupled with auditory sound patterns which play a primary role in recognizing meanings. In standard Chinese it is more simple: visually perceived characters function purely visually. This very well known fact, that Chinese script is not primarily auditory but functions visually, has a historical background. The Chinese script that was used under the Shang Dynasty (approx. 1600th - 11th century BC) to record divine oracles was used in the subsequent Western Zhou Dynasty (11th - 771st century BC) for the administration of its territory, which was much greater than the Shang Dynasty ’ s territory. Standard Chinese was 1 The paper was translated from German by the academic translation office Textworks Translations. The German version was originally presented in May 2013 at the conference “ Heterogene Bild- und Schriftverhältnisse ” in Warburg-Haus Hamburg and will be printed in Yûji Nawata: Kulturwissenschaftliche Komparatistik: Fallstudien, Berlin: Kadmos, forthcoming. The research was supported by JSPS KAKENHI Grant Number 25370372 and Chuo University Grant for Special Research. I wish to thank Stefan Buchenberger, H AYASHI Shizue, K AWASHIMA Kentarô, Walter Ruprechter und Y AMAMOTO Jun for helpful discussions about Thomas Kings Poems. able to function as a national administrative language mainly because its logographic functionality meant it could be understood irrespective of which dialects or languages were spoken in the regions (Atsuji 173 - 75). Leibniz once quoted the theory of Jacobus Golius, 2 whom he called the “ Sprachkenner ” ( “ language expert ” ), “ that their language [= the language of the Chinese people) was artificial, i. e. that it had been invented in one fell swoop by a clever man in order to produce linguistic communication among a large number of different nations [nations differentes] which inhabited that great country we call China ” (Leibniz 2: 4 f.). 3 Today, no one believes in such a single inventor anymore. Otherwise, however, Leibniz was quite well informed: the universality of Chinese script does actually derive from national politics. We can generalize here and say that the visual representativeness of a script is often linked to political circumstances. This is demonstrated by some German authors with their sensitive cultural-historical insights, as will now be explained using texts by Marcel Beyer and Thomas Kling. *** Marcel Beyer was born in 1965 in Tailfingen in Württemberg, and lived in Kiel, Neuss, Siegen and Cologne until he moved to Dresden in 1996. Eastern Europe is an important theme in Beyer ’ s literature, and he perceives this region keenly with all his sensory apparatus. He once travelled around the Estonian city of Narva on the border of Russia. The reason for this was probably that on a summer ’ s night in 1992 he was waiting for the train at the “ S-Bahnhof ” ( “ suburban metro station ” ) Warschauer Stra β e on the eastern side of Berlin: the whole time I could see advertising lettering overhanging a wall on the other side of the railway installations. In large letters it says: NARVA TAGHELL (NARVA AS BRIGHT AS DAY). NARVA, an acronym - where “ N ” stands for nitrogen, “ AR ” for argon, “ VA ” for vacuum: light bulbs by this brand will also have illuminated me as I sat there, turned towards sleep and, as I believed, turned away from language. [. . .] Perhaps I had to travel for hours through a monotonous, unhappy landscape in Estonia because I wanted to find a word again on the Russian border. (Putins Briefkasten 27) The author was overcome by tiredness towards four o ’ clock in the morning, disturbing his linguistic behaviour. It distanced him from the language, here in the sense of the logos that carries meanings. The script was perceived purely in its visual representativeness. Beyer comes back to this perception later in one of his poems that arose out of the Estonia trip. The title of the four-line stanza is “ Narva, taghell ” ( “ Narva, Bright as Day ” ): The languages are strange to me, I ’ m like someone wearing carpet slippers: but there I am. Polymers, fur trim and insoles: all things are near to me. (Mouth to Mouth 139) The poem is concerned with a scene in the city of Narva that is as bright as day, and no longer with the advertising lettering “ NARVA TAGHELL ” at the S-Bahn station. The poem takes up 2 On the identification of the person cited by Leibniz with the Orientalist Jacobus Golius (1596 - 1667) see Hamaguchi 2007, 11. 3 All quotations are translated by the translator of this article, unless stated otherwise. 60 Nawata Yûji (Tokyo) the same theme as the passage of text about the lighting company ’ s advertisement: the turning away from language and the perception of objects contingent on this. Here in this poem the lack of understanding of the languages used in the area allows objects such as insoles to be felt and observed more closely. In a similar way, the characters in the advertisement were perceived at that time as objects at the S-Bahnhof. To use Sybille Krämer ’ s term (Krämer, et al.), “ Schriftbildlichkeit ” ( “ the visual representativeness of script ” ) is an important theme in Marcel Beyer ’ s experience of and reflection on Eastern Europe. Beyer perceives script as images mostly when he cannot understand it. The incomprehension of languages sensitizes Beyer ’ s eyes and senses. An example is the poem “ Raps ” ( “ Rapeseed ” ): Rapeseed It ’ s noon, you ’ re sitting behind the wheel in an empty country road, a couple of Polish stations are cutting in and out, nothing speaks in you, you ’ re on the point of thinking you grew up mute, and then this: rape, hard edge, clean line, scattered, dense rape work, hatched and cross-hatched rape, the field fills, the screen fills with rape, rape up to your hairline, brimful of rape, rape eyes, rape head, rape rustle, rape scrape, nothing cattle cake, nothing margerine [sic], nothing but rape. (Mouth to Mouth 143) Because the travelling author does not understand the Polish radio programmes, the logos within him is switched off. The area in his head that is normally occupied by language now becomes, so to speak, free, and it is into this space that the images of the vast rape fields flow and overpower him. In the volume of poems Erdkunde (Geography), which includes poems from his Eastern Europe experiences and also the poems “ Narva, as Bright as Day ” and “ Rapeseed ” , we read the lines: “ So dunkel ist das nicht, ich mu β nur länger gucken, weil/ ich ein Westkind bin, weil ich von Pferden nichts/ verstehe und kein Russisch kann ” ) ( “ It is not so dark, I just have to look harder, because/ I am a child of the West, because I know nothing about/ horses and cannot speak Russian ” ) (48, 1 - 3). In other words, the fact that he did not have a good command of the language helped him to see the area he was visiting more precisely. This is also true of his reflection on the characters whose meanings he does not understand. The following quote is again about Polish that is not understood: Script - it is always also a promise. The boards, the advertising lettering, the shop signs as soon as you have left the border behind and are travelling on the country road inland: what I find striking are the grotesque scripts of former times. One of these types of script is called ‘ Futura ’ , and when it is used it always signals what is inherent in its name: here you are seeing signs that point to the future. I admired the strange, illuminated letters in the towns, the handwriting on the wall of a house, the name of a shop extending across the shop window. No, I don ’ t speak Polish, and when I read “ Teraz ” I automatically think of “ Terasse ” ( “ terrace ” ). Where I understand barely more than “ watch out ” , “ drinks ” and “ cigarettes ” , where I can only guess individual words such as “ Meble ” and “ Ksero ” , my eye gets stuck on the letters. Not the content, but the form. I have rarely felt this to be a disadvantage; meaning can also distract. (Putins Briefkasten 32 f.) Visual Representativeness in Uncomprehended Script and Martial Script 61 What he sees in the visual representativeness of the script, in this case in the features of Futura, is the communist rule in Poland during the Cold War, i. e. a complex of political, geographical and historical contexts. In this prose text Beyer calls these complexes the “ European history of the twentieth century ” (Putins Briefkasten 30). In another essay (where Beyer reads Paul Celan ’ s poems in the context of Europe as a multilingual region) he refers to the same phenomenon with one word: “ politics ” (Nonfiction 198 and 222). *** The poet Thomas Kling, who unfortunately passed away in 2005 at the age of 47, was a kind of cultural archaeologist, and he, too, was capable of digging out the history and politics behind the visual representativeness of script. Both Thomas Kling ’ s and Marcel Beyer ’ s texts are often set within cultural history. Among the German-speaking authors of the recent past and the present they belong to an elite group who are capable of plunging deep into cultural history with their rich knowledge of contemporary cultural studies (Kulturwissenschaft). It was probably due to this closeness to one another in their creative work that the two authors were good friends. An analysis of two texts by Thomas Kling will now follow. One text sings about antiquity; the other is set in the Cold War. In the first example we are again dealing with an ancient rule over a large territory and its predominant standard language. ruma. etruskisches alphabet malariasümpfe, dampfnd vor bildern. von anfällen, ausfälln hergenommen. BILDERSÜMPFE aus denen namen steign, geblubber, den figuren beigeschriebenes, wie: fleischkeil, nebelbank über den colli emiliani; hastunichtgesehn wird rom di zunge abgenommen; rom wird gestreckt, geteilt (liniert) und aufgekocht. dies abgekochte rom; dem geben wir, zart, seine zunge zurück. di wächst rom zwischn den zähnen heraus: ein römisches züngelchn; romgezüngel! I MODI DI DIRE ROMANESCHI UND DIE LECKT länder weg; berginnen; sabinerberginnen, etrurische geschmacksknospn; dazu das getreide, die pferde etruriens, alles gekauft. (Gesammelte Gedichte 521) [ruma. etruscan alphabet malaria swamps, steamng with images. saved from attacks, losses. IMAGE SWAMPS with names climbing out of them, blathering, added to the figures, like: wedge of flesh, fog bank over the colli emiliani: haven ’ t you seen rome ’ s 62 Nawata Yûji (Tokyo) tongue is being cut off; rome is being stretched, divided (drawn on with lines) and brought to the boil. this decocted rome, we are gently giving it its tongue back. di grows out between rome ’ s teeth: a little roman tongue: romelicking! I MODI DI DIRE ROMANESCHI AND IT LICKS countries away; within the hills; within the sabine hills, etrurian taste buds; also the grain, the horses of etruria, everything bought.] Kling precedes the cycle of poems romfrequenz (rome-frequency), which begins with this poem, with a quotation from Theodor Mommsen ’ s Römische Geschichte (Roman History): “ the oldest Etruscan script is not yet familiar with the line, winding itself like a snake coiling ” (Kling, Gesammelte Gedichte 519; Mommsen 213). While Kling already thematizes the visual representativeness of the Etruscan alphabet in this motto, in the poem he places it in a historico-political context. The Etruscans, who inhabited central Italy, had their heyday around the 7th to the 6th century BC and were integrated into the Roman Empire from the 4th century BC. They spoke Etruscan and wrote this using the Etruscan alphabet, a variant of the Greek alphabet. It is has been identified which Etruscan character corresponds to which present-day alphabetic letter. The language itself, however, has not been completely intepreted, although many inscriptions have come down to us through history. In the first of the poem ’ s two strophes Kling writes about these inscriptions which are “ den Figuren beigeschrieben ” ( “ added to the figures ” ) (4 - 5). The work as a whole, figures as well as characters, is viewed as “ Bilder ” ( “ images ” ) (3), for the characters can barely be understood. Only a few “ Namen ” ( “ names ” ) (3) are interpretable. The relics with inscriptions which make a static impression in the museums are brought into a dynamic process by the poet, as if they were only just being created now. They are steaming “ Bildersümpfe ” ( “ image swamps ” ) (3). How can the script look like an image? This is due to the script not being understood, as is expressed in the first half of the poem. How has it come about that people can barely understand this script anymore? It is down to historico-political circumstances, and these are the theme of the second half of the poem. The second strophe is Kling ’ s translation of a fictional inscription into both lyrical and colloquial German. What is described here is the ascent and decline of Etruscan, or the linguistic conflict between Etruscan and Latin. From the late 7th to the late 6th century BC Rome was ruled by the Etruscans whose language was Etruscan, not Latin ( “ wird/ rom di zunge abgenommen ” ( “ rome ’ s/ tongue is being cut off ” )) (7 - 8). They cultivated the Romans and also taught them the alphabet. The Romans then began to write their own language, Latin, with this writing system, developing the Latin alphabet ( “ dies abgekochte rom; dem geben wir, zart,/ seine zunge zurück ” ( “ this decocted rome; we are gently giving it/ its tongue back ” )) (10 - 11). The Romans also grew powerful because of this writing system, formed an empire and integrated many peoples, including the Etruscans, into the language area of Latin, which was previously only one dialect among others ( “ I MODI DI DIRE/ ROMANESCHI UND DIE LECKT/ länder weg ” ( “ I MODI DI DIRE/ ROMANESCHI AND IT LICKS/ Visual Representativeness in Uncomprehended Script and Martial Script 63 countries away) (13 - 15); in “ DIE LECKT ” ( “ IT LICKS ” ) (14) we hear also “ Dialekt ” ( “ dialect ” )). The result of this is that the language of Etruscan died out, Etruscan scripts became only partially interpretable, and consequently they looked like images. Both Chinese and Latin served imperial powers and became lingua franca. We have a language like this that we use today: computer language as the universal language of the present day, which also serves the powers who instigate hot and cold wars. The visual representativeness of computer language is the theme of my final example, Thomas Kling ’ s cycle of poems NACHTWACHE (NIGHT DUTY) (Gesammelte Gedichte 795 - 800). 4 In the last ten years of his life Kling lived on the former NATO missile base in Hombroich in Niedersachsen, which was turned into an artists ’ village at the end of the Cold War. The cycle imagines that a hot war has now developed out of the Cold War, describing how the Hombroich missile base comes under air raid attacks and defends itself against these. This is probably referring to the defence system NADGE (NATO Air Defence Ground Environment). According to the website on the “ legacy products ” of the NATO Programming Centre in Belgium, which developed different computer systems for NATO, NADGE was introduced in the late 1960 s. It is a semi-automated air defence system equipped with “ new radars, new ground-to-air communications and computer-based control sites ” (NATO Programming Centre). 5 NIKE is the explicit name of the surface-to-air missiles in the second poem (Kling, Gesammelte Gedichte 798) which are part of this defence system, are controlled by “ groundto-air communications ” and are intended to hit enemy pilots or missiles. Controlling surfaceto-air projectiles was the very starting point for Norbert Wiener ’ s cybernetics, one of the information theories that grew out of the Second World War and was used for the Cold War. Kling ’ s cycle of poems is a literary adaptation of Wiener ’ s cybernetics. The wars between air and ground that were prepared for during the Cold War, but luckily never took place, were computer wars, i. e. wars by computers against computers. The attacking missiles as well as the defending bases functioned through computer. To quote Friedrich Kittler ’ s clear articulation of the relation between an English radar station and a German V2 missile in the Second World War: “ The measurement object, to which the digital signal processing responds or reacts, is another digital signal processing ” (206). The wars between heaven and earth prepared for during the Cold War were also wars by means of images, for the defence systems functioned through monitors, i. e. through visual recognition of the enemies. They were, at the same time, wars by means of script, for the computer languages are binary languages. Even visual data are ultimately nothing but script. Thomas King particularly succeeds in describing these wars as image and script wars, thereby giving expression to the complexity of image-script relations in computing and in war. I will now quote the third poem: TIEFFLUG DER MINERVA kaum ein luftzug: dämmerungsaktives wort. das sich in hochauflösung, in rasanzen, in das bild begibt. in wärmebilder. Schlacken 4 The key points of the interpretation of the cycle are available in Japanese along with a translation of the work into Japanese and a brief explanation (Kling NACHTWACHE). 5 On the kind of computers and computer systems developed by the Soviet camp see Ernst, et al. 189 - 220. 64 Nawata Yûji (Tokyo) die vom himmel fallen, sich in die botanik senken, um als material zu enden. Luftzug nur. herausgewürgtes mediengewölle. schlagschattenartig in die scharten fallend, in die knappen senken wo die toten liegen könnten. statt dessen dämmerungsaktives, beredtes bild. (Gesammelte Gedichte 799) [MINERVA ’ S LOW-ALTITUDE FLIGHT barely a breeze: twilight-active word. which makes its way in high resolution, at great speed, into the image. in thermal images. Ashes falling from the sky, sinking into botany, ending as material. Just breeze. regurgitated media pellet. falling like shadows into the embrasures, sink into the hollows where the dead may lie. instead of this, twilight-active, eloquent image.] The enemy missile attacking the NATO base is called “ ein datending ” ( “ a data thing ” ) (1) (Gesammelte Gedichte 800). Here it is similarly called “ mediengewölle ” ( “ media pellet ” ) (7), for the missile does not hit the mark but falls into the greenery and destroys itself. The missile, understood as data and media, is also called here “ dämmerungsaktives wort ” ( “ twilight-active word ” ) (2) in the sense that the missile is controlled by computer language and is understood here as language. This missile appears on the NATO monitor as “ wärmebilder ” ( “ thermal images ” ) (4) in “ hochauflösung ” ( “ high resolution ” ) (3). That is why in the last line the missile is called “ dämmerungsaktives, beredtes bild ” ( “ twilight-active, eloquent image ” ) (10). “ twilight-active word ” (2) and “ twilight-active [. . .] image ” (10) are the same missile, but it has two names because it is viewed from two different angles: from the attacking side in terms of how the missile functions, and from the side under attack in terms of how the monitor captures the image. In the first poem of the cycle the script-image relationship is expressed more clearly: TURM. NACHT. AUSSEN. BELAGERUNG. als zustand. sagen wir: lichtwaffe. schwarzschillernde materie. eine zeughaus-anlage, beschienen. turm, getroffen vom lichtkatapult. getroffen von blicken. fliegen im panzerglas-aquarium. es werden augen feuersäulen, suchscheinwerfer. so wird im aufschein auge aschenträger. bunkerträger. ein monitor, auf dem die nacht in tätigkeit erscheint. ein angestrahltes BILD VON SCHRIFT. vorm höhlensystem nachtwache schieben: deutliche dämmerungsaktivität. (797) [TOWER. NIGHT. OUTSIDE. SIEGES. the conditions. let ’ s say: light weapon. shimmering, Visual Representativeness in Uncomprehended Script and Martial Script 65 black material. an armoury building, illuminated. tower, hit by a light catapult. hit by glances. flying in the armour-glass aquarium. eyes become pillars of fire, searchlights. eye becomes as if a bearer of ash. a bearer of bunkers. a monitor on which the night can be seen, active. an illuminated IMAGE OF SCRIPT. doing night duty in front of the cave system: clear twilight activity.] “ ein monitor, auf dem die nacht in tätigkeit erscheint. ” ( “ a monitor on which the night can be seen, active. ” ) (8): what this line says about observing the night sky through radar and monitor is expressed again in different words in the next line: “ ein angestrahltes BILD VON SCHRIFT ” ( “ an illuminated IMAGE OF SCRIPT ” ) (9). The enemy activities in the air are understood as script because they are controlled by computer, i. e. binary script, and this “ script ” appears on the bunker monitor as “ image ” . What functions as script on the enemy side is perceived on the NATO side as image. The whole cycle is designed to illuminate the imagined war from the level of data and to present it as a data war. The cycle probably thematizes “ Bild von Schrift ” ( “ image of script ” ) (9) in this context, too. In this war natural languages are faded out. When the poet writes of the “ datennächte ” ( “ data nights ” ) (798) (10) in the second poem, he does so in the sense that languages such as English or German do not come into consideration for Kling ’ s description of the war. While script in these languages certainly existed in the real bunkers in Hombroich, in the second text of his cycle Kling chooses rather to emphasize inscriptions in pictograms. The first poem speaks of “ AUSSEN ” ( “ OUTSIDE ” ) (1) the missile base, and now the second text speaks of “ INNEN ” ( “ INSIDE ” ) (1), i. e. the rooms of the bunker are described: NATO NIKE SITE. NACHT. INNEN. und sahen bunker-präzisionsinschriften. in bunkern piktogramme männlicher wünsche und raketen. sahen fundamentplan, raumbezeichnung, lichteinfälle. kantenschatten, gitterroste, maschenweiten. böden aus linoleum, aus gußasfalt. Estrich öldicht. [. . .] (798, lines 1 - 7) [NATO NIKE SITE. NIGHT. INSIDE. and saw bunker precision inscriptions. in bunkers pictograms if male desires and missiles. saw foundation plan, room designation, incidences of light. shadows of edges, grates, expanses of mesh. floors made of linoleum, of mastic asphalt. Screed oil-proof. [. . .]] People of different nationalities, who speak different languages, work in the NATO bunkers. Pictograms function here beyond the multilingualism of NATO. The people who wage and fight wars are presented here as men. “ piktogramme männlicher wünsche ” ( “ pictograms of 66 Nawata Yûji (Tokyo) male desires ” ) (3): with this phrase Kling refers to the gender context of the pictograms in the bunkers and therefore also to the way pictograms are not used for no reason, but in particular social contexts. The context in which pictograms are embedded in this poem is called, wholly in Marcel Beyer ’ s sense, the “ European history of the twentieth century ” or “ politics ” . Kling reminds us that pictograms have a lot to do with history, politics and war. “ die lufthoheit. gesirr. die erdhoheit./ der deutungshoheit datenflackern. ” (air sovereignty. buzzing. earth sovereignty./ flickering data of interpretation sovereignty ” ) (800, 9 - 10). The cycle closes with these two lines. While Kling presented, so to speak, the battle for language supremacy between the Etruscans and the Romans on the Italian peninsula, here he speaks of a “ interpretation supremacy ” : supremacy in the digital world where enemies identify one another via radars and the data collected in this way is interpreted via computers. *** Not only Thomas Kling ’ s two works, but also Marcel Beyer ’ s text about Futura script, are about the visual representativeness of script, which comes to the foreground particularly in military or aggressive situations. Beyer, too, is concerned with the Cold War, and he saw how Poland fought this war also with the aid of Futura. Marcel Beyer and Thomas Kling are on the victorious side in this. Beyer entered the countries of the former enemy and looked at the scripts in Russian or Polish explicitly as a “ Westkind ” “ child of the West ” (Erdkunde 48, 2). Kling had his texts printed in the Latin alphabet, as do all present-day German-language authors. Because the missile base had been decommissioned due to the West ’ s victory in the Cold War, Kling was later able to live and write in Hombroich, incidentally still under the air, earth and interpretation sovereignty of NATO. The two authors commemmorate these past wars with such a fine eye, even for the losing side. Beyer ’ s sober reflection on the inscribed relic left on the field, Kling ’ s fictional interpretation of the lost Etruscan language, or his imagining of aerial warfare on the former NATO base: here and there in these works of memory script appears as image so beautifully, in a way we so rarely encounter. References Atsuji. 阿辻哲次「漢字の連続性」 NHK 「中国文明の謎」取材班『中夏文明の誕生-持続する中国の源 を探る』東京:講談社 2012 年 168 - 75 頁 Beyer, Marcel. Erdkunde. Gedichte. Köln: DuMont, 2002. — . Nonfiction. Köln: DuMont, 2003. — . Putins Briefkasten. Acht Recherchen. 3rd ed. Berlin: Suhrkamp, 2012. — . “ Narva, Bright as Day ” . Trans. Michael Hofmann. Mouth to Mouth: Contemporary German Poetry in Translation. Thomas Wohlfahrt and Tobias Lehmkuhl, eds. Newcastle, Australia: Giramondo, 2004. — . “ Rapeseed ” . Trans. Michael Hofmann. Mouth to Mouth: Contemporary German Poetry in Translation. Thomas Wohlfahrt and Tobias Lehmkuhl, eds. Newcastle, Australia: Giramondo, 2004. Ernst, Wolfgang, et al., eds. Computing in Russia. The History of Computer Devices and Information Technology Revealed. Braunschweig/ Wiesbaden: Vieweg, 2001. Hamaguchi. 浜口稔「世界参照の記号論-モノの検索、コトバのエンジン」『明治大学教養論集』 第 423 号( 2007 年) 1 - 26 頁 Kittler, Friedrich. “ Real Time Analysis, Time Axis Manipulation. ” In Friedrich Kittler. Draculas Vermächtnis. Technische Schriften. Leipzig: Reclam, 1993. 182 - 207. Kling, Thomas. NACHTWACHE. Translated into Japanese by N AWATA Yûji. “ Yakei. ” DeLi (Japanese journal for moderne German literature) 2 (2003): 130 - 34. — . Gesammelte Gedichte. Marcel Beyer, and Christian Döring, eds. Köln: DuMont, 2006. Visual Representativeness in Uncomprehended Script and Martial Script 67 Krämer, Sybille, et al., eds. Schriftbildlichkeit. Wahrnehmbarkeit, Materialität und Operativität von Notationen. Berlin: Akademie, 2012. Leibniz, Gottfried W. Nouveaux essais sur l ’ entendement humains/ Neue Abhandlungen über den menschlichen Verstand. Wolf von Engelhardt, and Hans H. Holz, eds and trans. Bilingual edition. 2 vols. Frankfurt am Main: Suhrkamp Taschenbuch Verlag, 1996. Mommsen, Theodor. Römische Geschichte. 13th ed. Vol. 2. Berlin: Weidmannsche Buchhandlung, 1923. NATO Programming Centre: Legacy Products. Web. 12 May 2013. Nawata, Yûji, ed. Thomas Kling im Kontext der Kultur- und Literaturgeschichte. German-Japanese edition. Tokyo: Japanische Gesellschaft für Germanistik, 2013. Yi, Sang: The Wings. Trans. A HN Jung-hyo and James B. Lee. Seoul: Jimoondang Publishing Company, 2001. 68 Nawata Yûji (Tokyo)