Japanológia

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    A turánizmus
    (1993) Farkas Mária Ildikó
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    Fordítói jelenlét a japán filmek magyar fordításában
    (2013) Dr. Somodi Júlia
    Venuti 1995-ben megjelent műve óta gyakori téma a fordítástudományban a fordítói láthatatlanság kérdése. A tanulmány az audiovizuális fordításban megjelenő fordítói jelenlétet vizsgálja a japán megszólító nyelvi elemek magyar fordításán keresztül. Az elemzéshez különböző műfajú japán filmek fordítását vettem alapul, és azt vizsgáltam, hogy az audiovizuális fordítás egyes típusaiban a fordító a honosítást vagy az elidegenítést részesíti-e előnyben. A fordítói láthatatlanságot szem előtt tartva azt is vizsgálom, hogyan jelenik meg a pozitív és negatív udvariasság a japán megszólítások magyar fordításában. Az elemzés során figyelembe vettem a szinkron, filmfelirat, valamint a rajongói fordítás műfaji sajátosságait, a honosító és az elidegenítő (nyílt és rejtett) fordítás jellemzőit. Az elemzés eredménye egybecseng az audiovizuális fordítás egyes típusaiban alkalmazott, fordítási technikákat érintő megállapításokkal. A szinkronra a honosító eljárás jellemző, a fordító a célnyelvi normát tartotta szem előtt, a fordítói láthatatlanságra törekedett. A filmfelirat jóval több idegenszerű elemet tartalmazott. A rajongói fordítás élt leginkább az elidegenítő fordítási technikával, a japán megszólító elemek túlnyomó többsége lefordítatlanul került át a magyar verzióba. Hasonló eredményt hozott a pozitív és a negatív udvariasság fordításban való megjelenését vizsgáló elemzés is: a szinkronba számos olyan pozitív udvariasságot tükröző megszólító elemet toldott be a fordító, amely a forrásnyelvi szövegben nem szerepelt. A forrásnyelvi normához ragaszkodó rajongói fordítás pedig egyáltalán nem tartalmazott kedveskedő, becéző megszólításokat.
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    The Japanese Nation Building in European Comparison
    (2013) Farkas Mária Ildikó
    A Magyar–Nippon Társaság 1924-ben alakult azzal a céllal, hogy megismertesse és népszerűsítse a japán kultúrát Magyarországon, ösztönözze a Japánnal kapcsolatos kutatásokat, valamint elősegítse a magyar–japán kapcsolatok kialakítását és fejlődését. Az egyesület ismeretterjesztő előadásokat szervezett Japánról, kulturális és művészeti kiállításokat, valamint a japán kultúrához kapcsolódó társadalmi eseményeket rendezett, amelyek révén a társaság a japán kultúra és művészet legjelentősebb szervezője és népszerűsítője volt Magyarországon a két világháború között. Ez a társaság volt az első (és sokáig, a Magyar–Japán Baráti Társaság 1987-es megalakulásáig az egyetlen) egyesület Magyarországon, amely kizárólag Japánra és a japán kultúrára koncentrált. Jelen tanulmány a Magyar–Nippon Társaság történetét és tevékenységét korának tágabb történelmi és ideológiai kontextusába helyezve foglalja össze, amely megközelítéssel árnyaltabb képet kaphatunk arról, hogyan és miért változott meg Japán imázsa a 20. század első felében egy olyan közép-kelet-európai országban, amely a „Keletről” más fogalmakkal és elképzelésekkel rendelkezett, mint a nyugat-európai társadalmak. Az elemzés azt is bemutatja, hogy egy elsődlegesen kulturális egyesület hogyan került az adott korszak politikai meghatározottságának hatása alá: hogyan hatottak szellemiségére és tevékenységére a korszak meghatározó ideológiái, a nemzetközi helyzet eseményei, az aktuális politikai gondolkodás elemei, valamint a magyar identitásprobléma kérdései.
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    Japán modernizációjának előzményeihez
    (2013) Farkas Mária Ildikó
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    A kulturális és nemzeti identitás megfogalmazása Japánban és Közép-Európában a 18-19. században
    (2016) Farkas Mária Ildikó
    Kokugaku of the Edo period can be seen as a key factor in defining cultural (and national) identity based on Japanese cultural heritage in the 18th and early 19th centuries. Kokugaku focused on Japanese classics, on exploring, studying and reviving (or even inventing) ancient Japanese language, literature, myths, history and also political ideology. ‘Japanese culture’ as such was distinguished from Chinese (and all other) cultures, and thus ‘Japanese identity’ was defined. Meiji scholars used kokugaku conceptions of Japan to construct a modern nationalism that was not simply derived from Western models and was not purely instrumental, but made good use of pre-modern and culturalist conceptions of community. The role of pre-modern cultural identity in the formation of modern Japanese (national) identity – following mainly Miroslav Hroch’s comparative and interdisciplinary theory of national development – can be examined in comparison with the ‘national awakening’ movements of the peoples of EastCentral Europe. Before modernity, in the shadow of a cultural and/or political ‘monolith’ (China for Japan, and Germany for Central Europe), ethnic groups or communities started to evolve their own identities with cultural movements focusing on their own language and culture, thus creating a new type of community, the nation. A comparative examination of texts (discourses) illustrates that similar modes of argumentation (narratives) can be identified in these movements: ‘language’ as the primary bearer of collective identity, the role of language in culture and ‘culture’ as the main common attribute of the community; as well as similar aspirations to explore, search and develop the native language, ‘genuine’ culture, and ‘original’ traditions. This comparative research offering ‘development patterns’ for interpretation can help us understand how ‘cultural identity’ played an important role in the formation of national identity, with its effect (‘cultural nationalism’) present even today in Japan and in Central Europe, too.
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    Egy férfi tekintet által konstruált japán színésznő: Hanako mint hősnő (?) Mori Ōgai novellájában
    (ELTE Eötvös Collegium, 2020) Doma Petra
    A Japanese Actress constructed by a male gaze – Hanako as a heroine (?) in a short story by Ōgai Mori Hanako (1868–1945) was one of the most successful Japanese actresses of the early 20th century. She never acted on a Japanese stage as a renowned actress, but she performed her Japanese-style dramas on almost all the major European stages. Her fame was due to three people: Loïe Fuller, August Rodin and Ōgai Mori. A pencil sketch proves that Hanako was drawn nude while dancing by Rodin. Nevertheless, we do not know the circumstances of this occasion. The only description we have is a short story written by Mori in 1910, but this seems to be completely fictional. This paper includes the first Hungarian translation and an analysis of the short story. I focus on the tools that Mori used to place East and West on the same level, avoiding the stereotypes of Japan popular at the time.
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    Szerepnyelv és karakternyelv a fordításban
    (2020) Dr. Somodi Júlia
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    Ókori kínai és koreai hatások a japán murális sírművészetben
    (Magyar-Japán Baráti Társaság, 2020) Lázár Marianna
    This paper will first introduce the basic burial customs of ancient Japan, then examine the cultural-historical factors that might have influenced the development of traditions of funerary art in the Kofun and Asuka period. The immigration of Korean monks, scholars and craftsmen to Japan during the Kofun and Asuka period transformed Japanese art. Analyzing the mural paintings of the Takamatsuzuka Tomb and Kitora Tomb, the author detects Chinese and Ko rean influences on Japanese funerary art. Many Korean influences during this time originated in China, but were adapted in Goguryeo or Baekje before reaching Japan. Moreover, imperial Japanese envoys who visited Sui and Tang China in the 7th century, came back to Japan with excellent artistic skills and introduced new artistic styles and themes of the Sui and Tang peri od. The wall paintings of the Takamatsuzuka Tomb and Kitora Tomb are remarkable exam ples of how Japan greatly absorbed and modified the knowledge and philosophies of ancient Chinese culture.
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    A Kabuki Pose in Sculptures of Auguste Rodin
    (2022) Doma Petra
    Hanako (Ōta Hisa, 1868–1945) was an insignificant member of a small Japanese theatrical troupe when she was discovered by the well-known dancer, Loïe Fuller, who after seeing Hanako’s death scene, decided to become her impresario. Thereafter, Fuller organised each of Hanako’s European tours and wrote for her many Japanese-style dramas that always ended with the cruel but utterly expressive death of the protagonist. Hanako met Auguste Rodin, the famous sculpture, at the Marseille Colonial Exhibition in 1906. The master was fascinated by Hanako’s performance and tried to sculpt the ‘death face’ that she expressed during her death scenes. This face, with a weird expression, was most probably a nirami, which is a type of mie pose in kabuki theatre. Rodin created numerous busts and faces from different materials trying to capture the emblematic moment when Hanako saw death. The present paper examines the short but interesting period of Hanako’s Western career, focusing on her meeting with Rodin. I use their story as a unique and symbolic illustration of Japanese artists’ efforts to transform themselves and their art to ‘match’ the Western eye and of the ways in which the West was looking for verification of its preconceptions of the ‘strange’ and ‘exotic’ East in the early 1900s.
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    The Hungarian Nippon Society
    (2022) Farkas Mária Ildikó
    The Hungarian Nippon Society was founded in 1924, with the aim of building and developing Hungarian–Japanese relations, popularising Japan and Japanese culture in Hungary, and encour-aging research on Japan. The society organised public lectures on Japan and Japanese culture and art exhibitions and social events connected to Japanese culture, and through these activities the society was the most important organiser and promoter of Japanese culture and art in Hungary between the two world wars. This society was the first (and for a long time, until the foundation of the Hungarian Japanese Friendship Society in 1987, the only) association in Hungary to focus solely on Japan and Japanese culture. This study summarises the most important issues related to the Nippon Society, with the aim of placing its history and activity in the broader historic and ideological context of its time. Examining the history of the Hungarian Nippon Society can provide us a more nuanced picture about how and why Japan’s image changed during the first half of the 20th century in a Central European country that had different images and concepts about the East and thus a different approach than Western European societies had. Moreover, this case of a primarily cultural association in a politically difficult era can show how different cultural and intellectual thoughts and theories can be affected by identity issues and by contemporary politics, political thinking, and international situations.
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    Ancient Coins of Japan
    (2022) Lázár Marianna
    This paper aims to investigate the origins of ancient coins of Japan (until the 10th century CE), introduce the characteristics of their design and patterns, and examine their role in early Japanese culture and public administration, while briefly introducing the ancient Chinese coins that served as inspiration. Japan adopted numerous ancient Chinese cultural practices during the Asuka and Nara periods (538–794 CE). Especially from the second half of the 7th century to the 8th century CE, Japan introduced various social systems from the Tang dynasty in order to build a centralised government. Japanese nobles recognised the importance of metallic currency, leading to some silver and bronze coin production at the second half of the 7th century CE, including that of Mumon Ginsen and Fuhonsen coins. Scholars believe that they were modelled after ancient Chi nese coins. The mintage was regarded as an essential tool for the Japanese government to display the independence and the authority of the nation, both inside and outside the country. The system of the first official imperial currency (Kōchōsen) was introduced to Japan in the early 8th century CE and inspired by the Kāiyuán Tōngbǎo cash coins of the Tang dynasty. The oldest known offi cial Japanese imperial coinage is the Wadō Kaichin. In the second half of the 8th century CE, the national currency was reformed, and silver and gold cash coins were introduced. However, by the end of the 10th century CE, Japan subsequently suspended the mintage and circulation of coins.
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    Refusal Strategies of Hungarian Speakers of Japanese in Comparison with Native Speakers
    (2023) Dr. Somodi Júlia
    The present research is a comparative study of the refusal strategies of Hungarian speakers of Japanese and native speakers. It is a pilot study based on the IJAS International Corpus of Japanese as a Second Language. When learning or teaching a second language, the pragmatic features of a language cannot be neglected. In order to communicate succesfully, second language learners have to focus not only on the grammatical aspects of a language, but the pragmatic aspects should also be emphasised. The speech act of refusal can be described as one of the more complex speech acts. Moreover, different cultures may have different strategies for refusing the interlocutor. However, when communicating in another language, we often tend to follow the pragmatic patterns of our mother tongue. This can lead to misunderstandings or unsuccessful communication. Textbooks focus only partially on refusal strategies, and one can often notice textbooklike startegies in the refusals produced by students. In the present study we analysed four role plays of Hungarian learners of Japanese who have already been to Japan and role plays of four students who have studied the language in Hungary. The results were compared with four role plays of native Japanese speakers. The study focused on the pragmatic strategies used by the participants. The aim of the study was twofold: 1) to compare the refusal strategies of Hungarian Japanese speakers and native speakers 2) to highlight the pragmatic competences that need to be developed in order to facilitate effective communication. The results showed that Hungarian speakers did not use direct strategies expressed by performatives. In terms of indirect strategies, the analysed examples from the corpus showed that only four of the eleven indirect strategies mentioned by Beebe et al. (1990) were used, and one extra category was found, namely negotiation. The most striking difference between the Hungarian and the native Japanese speakers was found in the use of adjuncts.