Texte remanié de: Diss.--Literatur--Bonn, 1977. / Bibliogr. p. 257-267.

4 Abstract The thesis examines the Czech translations of the novel Winnetou by German author Karl May, which were published in the beginning of the 20th century, in the era of Protectorate of Bohemia and Moravia and in the Czechoslovak Socialist Republic. The aim of the empirical research is to prove whether the translations were influenced and manipulated by the governing ideology or not. The paper also covers relevant works of the translation theorists Anton Popovič, Itamar Even- Zohar and André Lefevere. Due to limited extent of this paper the empirical re- search focuses only on selected parts from four Czech translations of the novel Winnetou, which are related to religious, philosophical and national topics. The analysis covers not only the linguistic aspect of the translations, but also takes into consideration the political situation of the relevant era. Key words: Karl May, Winnetou, censorship and translation, manipulation school, metatext

This diploma thesis deals with the adventure novel Winnetou I by Karl May and with its practical use in foreign language lessons. The first part is focused on the didactics of literature and on the issue how literature can contribute to the development od pupils' competences and which methods could be used in this process. It also introduces the personality of Karl May in relation to his adventure novel Winnetou I. The second part presents an alternative teaching and learning material that was elaborated on the basis of the adventure novel Winnetou I.

The term “Indian” has come to represent not the Indigenous peoples of North America but the European construct of an entire people. My dissertation examines this construct with a view to answering the following question: to what extent is “the Indian” not simply a White or a European invention, but a German one? In my dissertation I investigate the origins and trace the development of the image of North American Indigenous peoples in three works of German fictional prose from the period between the late eighteenth-century and the late nineteenth-century: Sophie von la Roche (1730-1807), Erscheinungen am See Oneida (1798); Charles Sealsfield (1793-1864), The Indian Chief or, Tokeah and the White Rose (1829) and Karl May (1842-1912) Winnetou I-III (1893). My analysis shows the role that representations of North American Aboriginals played and continue to play as stereotypes of the Other in the ongoing and complex processes of German identity-formation. The three works belong to different moments in a historical period of rapid change, but their authors have made a significant contribution to the enduring image of the Aboriginal. All three authors mobilize an image of Indigenous populations that reveals tensions in the representations of the European and the Aboriginal characters. Chapter One discusses La Roche’s emphasis on the underdevelopment that she believed existed in Aboriginal society in the realms of education and culture. Chapter Two examines how Sealsfield championed Manifest Destiny by showing that the archaic political system of the Oconee, which he based on the Metternich regime, led to the tribe’s demise. Chapter Three considers May’s Winnetou as an elegiac reflection on the “dying man,” and the author’s motivation in creating a fantasy Blood Brotherhood of Germans and Apache. All three authors seem to work with the distinction between the “good Indian” and the “bad Indian.” This dissertation argues that the distinction creates a simplistic dichotomy that fails to fully describe the roles of Aboriginal characters in the texts examined. I maintain that it is the words and actions of Aboriginal characters in the narratives, when read in a more nuanced way, show that they are more intricate literary creations than perhaps the authors intended. The Epilogue challenges the reader to consider the future of this German image in a global context. Bear Witness’ short film The Story of Apinachie and her Redheaded Warrior is used as a case study. In his short film, Witness confronts the audience with a provocative juxtaposition of two stock images of Aboriginal peoples, one from a West German Karl May film and the other from the video game Virtual Fighter V. Witness shows that Aboriginal peoples are aware of the German image of Indigenous cultures and are now slowly beginning to reclaim these images as their own in the context of a postcolonial discourse.

The term “Indian” has come to represent not the Indigenous peoples of North America but the European construct of an entire people. My dissertation examines this construct with a view to answering the following question: to what extent is “the Indian” not simply a White or a European invention, but a German one? In my dissertation I investigate the origins and trace the development of the image of North American Indigenous peoples in three works of German fictional prose from the period between the late eighteenth-century and the late nineteenth-century: Sophie von la Roche (1730-1807), Erscheinungen am See Oneida (1798); Charles Sealsfield (1793-1864), The Indian Chief or, Tokeah and the White Rose (1829) and Karl May (1842-1912) Winnetou I-III (1893). My analysis shows the role that representations of North American Aboriginals played and continue to play as stereotypes of the Other in the ongoing and complex processes of German identity-formation. The three works belong to different moments in a historical period of rapid change, but their authors have made a significant contribution to the enduring image of the Aboriginal. All three authors mobilize an image of Indigenous populations that reveals tensions in the representations of the European and the Aboriginal characters. Chapter One discusses La Roche’s emphasis on the underdevelopment that she believed existed in Aboriginal society in the realms of education and culture. Chapter Two examines how Sealsfield championed Manifest Destiny by showing that the archaic political system of the Oconee, which he based on the Metternich regime, led to the tribe’s demise. Chapter Three considers May’s Winnetou as an elegiac reflection on the “dying man,” and the author’s motivation in creating a fantasy Blood Brotherhood of Germans and Apache. All three authors seem to work with the distinction between the “good Indian” and the “bad Indian.” This dissertation argues that the distinction creates a simplistic dichotomy that fails to fully describe the roles of Aboriginal characters in the texts examined. I maintain that it is the words and actions of Aboriginal characters in the narratives, when read in a more nuanced way, show that they are more intricate literary creations than perhaps the authors intended. The Epilogue challenges the reader to consider the future of this German image in a global context. Bear Witness’ short film The Story of Apinachie and her Redheaded Warrior is used as a case study. In his short film, Witness confronts the audience with a provocative juxtaposition of two stock images of Aboriginal peoples, one from a West German Karl May film and the other from the video game Virtual Fighter V. Witness shows that Aboriginal peoples are aware of the German image of Indigenous cultures and are now slowly beginning to reclaim these images as their own in the context of a postcolonial discourse.

The purpose with this study is to examine the description of native Americans in two novels, Old Surehand part 1 and 2 by the German author Karl May. By using a postcolonial theory, descriptions of people from different Native American nations have been studied, to see how these are portrayed by May and if there are any differences between the descriptions of different nations. The results of this study have shown that the descriptions differ between different native American nations. The Apache are positively defined, and the narrated picturesare clearly influenced by the description of the figure Winnetou, the chief of the Apache and a good friend to the main character Old Shatterhand. Other nations can be narrated as enemies and as warlike. They become however more positively pictured when they create a contact with and befriend Old Shatterhand, where the Comanche Nation can be seen as such an example. The descriptions of the native Americans are focused on their looks and appearance,as well as their traits and qualities, and are often rendered stereotyped. Finally, it becomes clear that a postcolonial perspective emerges, in which characters aredivided into “the own” and “the others”. However, it is not uncommon for the maincharacter Old Shatterhand, to have a seemingly positive bias in reaching out to the Native Americans. When that occurs, he is actually acting against a post-colonial stance.