Heidi in Japan

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Cover of the first Japanese Heidi translation in 1920.

The literary figure Heidi ( Japanese ハ イ ジ , initially: ハ イ ヂ , both Haiji ) underwent intensive adaptation and transformation in Japan . Detached from the original novel and the well-known film adaptations, Heidi in Japan stands for a popular cultural concept of simplicity, naturalness and cuteness.

Since its first translation on February 15, 1920, the novel Heidi has led to an intense reception of works by Heidi creator Johanna Spyri . Japan's global image of Heidi was influenced by the animated series Heidi, the girl from the Alps (Japanese ア ル プ ス の 少女 ハ イ ジ , Arupusu no shōjo Haiji ) produced in 1974 , which transported typical elements of anime culture into the character Heidi.

So far there have been at least 123 different editions of Heidi books by 72 different translators, 21 manga or manga series, 28 picture books and various cartoon adaptations in Japan . The Japanese image of Switzerland is shaped by stereotypes, which many Japanese are aware of as being closely linked to the Heidi story: mountains, Alps, untouched nature, free farming life.

Heidi is in a row with other western children's stories that also have a fan base in Japan that can compete with their respective local fan base: Little Women , The Secret Garden and especially Anne on Green Gables, which is thematically similar to Heidi .

Translations

Heidi came to Japan as a straggler of the numerous children's book translations that were triggered by the openings of the Meiji period . The translation came in the late phase of a period in which Western children's books were being translated in Japan. Japan , which had only opened a few decades earlier , was still lagging behind the West in the opinion of its education politicians. Japanese children should learn from western children's books. Heidi's role as one of the most translated books, which is still one of the best-selling foreign language literary products in Japan, was by no means evident from the start. While other classics such as The Wolf and the Seven Young Goats in 1880, Gulliver's Travels in 1896 or The Little Lord in 1897 were translated, Heidi had to wait several decades.

The first Heidi novel was published in 1920 in a translation by Nogami Yaeko in a series of classics in children's literature around the world. She did not translate from the German original, but from a version in American English. In total, Nogami Yaeko came up with 460 pages in the format 18 × 11 cm. The few illustrations are not signed and the original is probably from an older European edition.

While the first translation was still a direct translation of the title in Katakana ( ハ イ ヂ , Haiji ), the second translation decided to rename the characters in Japanese. From Heidi was Kaede (maple), the book was named Kaede Monogatari (The Story of Kaede) . The volume, published by Fukuin Shokan in Shimane Prefecture in 1925 , followed a trend in which numerous European characters were given Japanese names in order to make the books easier to understand for their young audiences. Like the first translation, this followed an English text; in this case it was Helen B. Dole's Heidi translation . This edition did not contain any illustrations.

In 1934 a new paperback edition of the Nogami translation followed, which also dispensed with all illustrations. It was published by Iwanami-Verlag in Tokyo and was one of the more successful editions at least until 2004 with 200,000 copies sold in 30 editions. A large part of these editions appeared decades after the first edition.

Heidi became really successful in Japan in the 1950s. The same publisher as 1934, Iwanami-Verlag, published a number of books from around the world in 1950 designed to help Japanese children overcome the experiences and trauma of World War II . As part of the series, a Heidi translation from German by Michio Takeyama with illustrations by the American Leonard Weisgard was published . Of these, a total of 110,000 copies had been sold in 40 editions by 2004; like the 1934 paperback, this edition is still available in stores.

In the post-war period, the Heidi translation approach began to change. The translators did not put the figure Heidi in the foreground, but focused primarily on nature and the purity of the child's soul. In the 1950s, Nogami called the book Arupusu no Yama no Otome ( ア ル プ ス の 山 の 乙 女 , "A young girl from the mountains of the Alps"). Another translator, Yoshio Minami , decided in 1954 for Arupusu no Shōjo ("An alpine girl; An alpine girl"), with which both emphasized the topos of the Alps and thus that of untouched nature. Both Heidi / Haiji and Arupusu no Shōjo are used in today's translations .

The literary importance of the material grew to such an extent that the later Nobel Prize winner for literature , Kawabata Yasunari , also published a Heidi retelling in 1959. The first complete edition worldwide of Johanna Spyri's works was also published in Japan in a twelve-volume edition from 1962. During this time, Japanese scholars began to work on their own Japanese adaptation of the material. In 1968 the literary scholar and translator Kenji Takahashi compiled the first detailed list of all Heidi translations that had existed up to that point.

Especially in the 1960s and 1970s, Heidi, after Anne on Green Gables , was part of the typical Japanese literature for young girls. Between 1920 and 1974, a total of twenty-four new translations, picture books and a manga were published. In addition to the Johanna Spyri work edition, an extensive text-critical Heidi edition was also published. Individual editions such as the 1975 translation by Sumiko Yagawa with illustrations by Paul Hey , planned since 1973 , reached a total of 32 editions and 128,000 copies sold by 2004. New translations appear regularly to this day and help make Heidi an integral part of public and school libraries.

Adaptations

The translations and adaptations essentially follow the original Heidi novel by Johanna Spyri. It is true that the medium used often makes it appear opportune to omit or to add subplots. However, the Japanese adapters were more careful with their source material than translators and interpreters in other countries. None of the important adaptations went as far as, for example, the heavily modernized Swiss version from 2001 or even like the French translator Charles Tritten , who wrote two sequels.

In the Japanese versions, after the unexpected death of her parents, Heidi comes to the alpine pasture with grandfather (Alpöhi) . He has fallen out with the village community and lives there with goat Peter and Heidi in rather loneliness. After a while, Heidi is surprisingly brought to Frankfurt am Main, where she meets her disabled cousin Klara. After spending an unhappy time there, she can return to the alp. Klara follows her. Peter pushes Klara's wheelchair down the mountain out of jealousy, whereupon Klara, forced by circumstances, learns to walk again. In the end, the village community reconciles with the Alpöhi.

Arupusu no shōjo Haiji - the anime

While Heidi was mainly perceived as pure literature for girls in her novel form, the anime managed to cross the gender barrier and also inspire male viewers. The creators Hayao Miyazaki and Isao Takahata provided the Swiss girl Heidi with a sweet and amiable kawaii appeal, which was established in Japan at the time. By deliberately and deliberately avoiding action elements and choosing a slow narrative pace, they created a new aesthetic in mainstream anime that strongly promoted the kawaii aesthetic both inside and outside of Japan.

Heidi was at a fork in the road for anime in the 1970s, when the often chaotic and creative scene of the 1960s became more professional. Several main strands established themselves in the development of the anime: action series, Shōjo like Candy Candy , sports animes and finally the children's book adaptations of the World Masterpiece Theater , the success of which Heidi founded.

At least Isao Takahata was a reader of the Heidi novels before the anime was produced. Before the series was created, the two creators Isao Takahata and Hayao Miyazaki traveled to Switzerland and the Maienfeld area for a month in order to make the landscape as realistic as possible and to give the series an authentic atmosphere. In contrast to the American film adaptation from 1937, for example, which was completely placed in the Black Forest , Miyazaki / Takahata tried to recreate the Alps in a natural way. Except for a few details, your product is unusually true to the text for a television adaptation.

In contrast to later anime, the designers of Heidi still attached great importance to an internationally understandable style of drawing, which further delimited the Heidi story and strengthened the tendency towards a time and place-independent parable. They internationalized Heidi and also managed to convey the story to a new generation of children. In the long term, they also brought Heidi to the Museum of Modern Art .

Since they produced no less than 52 episodes, they managed to pick up all the main and subplots of the novel in the series. Nevertheless, they set new priorities; They emphasized Heidi's love of animals and the role of nature by introducing other animals such as the St. Bernard Joseph or the bird Piep . They defused the conflict with Peter, who is less grumpy and personable in the anime than in the book. It is particularly noticeable that in the anime Klara's wheelchair smashes in an accident, while in the book Peter throws him down the mountain out of jealousy. Above all, however, they changed the character of the story by completely omitting the Christian undertones that show up in the religiously charged motifs of guilt, atonement and forgiveness, as these would have been too incomprehensible to the audience, which was both Shinto and Buddhist .

The series has been running regularly on Japanese television since it first aired and still has considerable ratings. Even in 2008, the yodel from the Japanese theme song is still a regular hit in Japanese karaoke bars. While the cultural scientist Ryo Kohsaka found in a survey that 90 percent of those surveyed in Japan got to know Heidi through the anime, the anime does not seem to shape the Heidi image so clearly. In terms of content, the book and the anime differ significantly in the question of how Klara's wheelchair is destroyed. When asked about the exact course of these events, a good third of the Japanese respondents decided in favor of the variant from the book, another seventh told the story as it is presented in the Swiss feature film from 1955, the rest relates to the plot in the Anime. If you compare this result with the surveys of Swiss and German recipients, the following results: Book reception in Japan is far below the Swiss rate, but, for example, clearly above that of the German respondents. They recount the anime far more often than the Japanese respondents.

Books, Mangas, Animes and Films - Further Adaptations

Heidi inspired numerous derived works: some closely based on the original version by Johanna Spyri, others far removed or extensive reinterpretations. In addition to the at least 123 translations, 21 manga or manga series, 28 picture books and two animes, Heidi Hotels inspired numerous photos and videos from holidays in Switzerland and private productions.

How the novel and the anime flow into later Heidi adaptations, for example, shows the Heidi girl manga by Yumiko Igarashi from 1998. It follows the Heidi novels in its plot and characters, but uses a narrative form similar to the anime. Although it is aimed at a slightly older target group than the anime, it is less about a quick course of action and the actions of the people. Like the anime, it emphasizes inwardness and longings, which are portrayed through an emphatically slow narrative style. As is often the case in the Japanese Heidi reception, the Heidi novel is converted into a manga in parallel with the subject Anne on Green Gables , which was implemented at the same time in a five-volume manga by Igarashi.

Above all, Igarashi uses typical stylistic devices of the girls' manga in her adaptation, which she transfers to the novel. Texts are often not in dialogue, but reflect the thoughts and considerations of the protagonists and drive the action forward through this internal process. Pastel tones predominate in the colors . In contrast to mangas for boys, which are arranged relatively consistently vertically and horizontally, the panels often overlap here . They are oblique and often intertwined with ornamental hair and robes. Sometimes the dividing lines between individual panels disappear completely and merge into individual surfaces. Everything enhances the effect of releasing Heidi from space and time and dissolving the external action into an internal process.

There is a Hello Kitty adaptation of the material as well as a film “Switzerland longitudinal cut !? This is Puffy's walking tour - We want to become Heidi !! ”( ス イ ス 縦 断!? こ れ が Puffy の お さ ん ぽ 旅行 〜 ハ イ ジ に な り た 〜 い !! 〜 , Suisu Jūdan !? Kore ga Puffy no Osampo Ryoki - Haitāij no Osampo Ryoki - Haitāij no Osampo Ryoki - Haitāij no Osampo Ryoki - ; 2000) by the Japanese band Puffy AmiYumi . In this, they play with the questions of authenticity and originality by traveling to the Swiss holiday region Heidiland and accusing the actors and wax figures of not looking like the original at all. They used an irony in doing so, which, however, bypassed most of the fans of the band and the fans of Heidi. Most of all, when the irony was noticed, it led to negative reactions. The members of Puffy AmiYumi disguise themselves as Heidi, Peter and Geiß and play the cartoon opening credits at "original locations" at a central point in the film.

Motifs

In Japan, Heidi is a symbol of childlike innocence and pure nature. With his Heidi adaptation, the anime creator Takahata primarily wanted to respond to the Japanese longing for blue skies, mountains with peaks covered in white, green meadows, mountain animals and a pure flawless innocence. Strong phases in Heidi's reception were on the one hand the phase after the Second World War and on the other hand the 1970s. After the Second World War, the country was traumatized and partially devastated. In the 1970s, Japan rose to become a world economic power. The society focused on industrial and financial growth as well as life in the metropolises. For Japanese fans, Heidi is on the one hand firmly associated with the term Switzerland, on the other hand, fans completely ignore the actual involvement in the history and culture of Switzerland and understand Heidi as a parable of the simple and innocent that is independent of time and space.

In an attempt to examine the Heidi pictures in different countries, Kohsaka came to the conclusion that the Heidi reception in Japan is based on two motifs, which are also called by various other authors. While Germans, for example, emphasized the upbringing issue of a young orphan and the associated problems, this issue plays no role whatsoever in Japanese reception. The interpretation in the sense of a national identification - widespread in Switzerland and, given the worldwide success of the anime, also possible in Japan - has hardly any significance in the Japanese reception. When asked what appeals to the Japanese about Heidi, they almost always answer with the charm and beauty of nature and with the pure heart of innocent childhood.

Nature and alps

In Japan, Heidi symbolizes innocent nature and mountains.

The contrast between urban, modern Frankfurt and nature-loving alpine pastures, which Heidi discussed, reflects the conflict that Japan has been going through at a great pace in the years since the Meiji Restoration : rapid, comprehensive industrialization and modernization in a country that is self-contained sees as closely related to the spirits of nature. The sequence that occurs in the Heidi story corresponds in the self-image of many Japanese to the unusually fast Japanese modernization, which also took place around the same time as the plot of Heidi. There, too, there is the abrupt change from the quasi-natural state to the big city, the connection with the western civilized world. Heidi can only dissolve the tension between the western city and natural tradition when she returns to the natural surroundings with her knowledge of the city.

The Japanese literary scholar Yumiko Bando Saito also emphasizes the experience of the Second World War, which increased interest in a pure nature. Heidi symbolizes Switzerland as a land of peace and full of natural beauties, to which Japan should orient itself. The breakthrough from one of many foreign children's books to a standard for children's and youth literature occurred in Japan in the 1950s. The Japanese-Swiss folklorist Aya Domenig cites comments in relevant fan forums as typical examples of the mixing of nature and fiction: Meadows that spread out before our eyes, blue skies and grandiose mountains. Listen to the Heidi CD there on the Walkman ... that is the state of greatest happiness , she quotes a Japanese woman traveling to Switzerland as a typical statement on the complex of topics: The girls like Heidi because it is so romantic. The nature of Switzerland, the Alps are so beautiful. The flowers are lovely. That's why it's so popular.

Childhood and security

In contrast to the other large Heidi export market, the USA, the Heidi reception in Japan cannot fall back on authentic Swiss references in the country itself. While the Heidi reception in the USA focuses heavily on the settlement areas of Swiss emigrants and is concentrated there, Heidi hardly appears to be spatially and temporally bound in Japan, but rather as a universal motif of a carefree childhood.

Above all, Saito emphasizes the purity of Heidi's character and the power of good against loneliness and sadness that ensured Heidi's continued success in Japan. According to Domenig, the “central attraction” consists in the feeling of interpersonal warmth between the protagonists and in the character Heidi himself, who is attested to “good-naturedness, selflessness, purity” and a fundamentally positive attitude towards life. Heidi fans perceive preoccupation with the figure as “cleaning the heart”, recommend this to “today's depraved youth” and attest to a “pure, deep feeling”. The term kawaii plays a central role, especially in the anime reception, which shifts the central Heidi motif away from nature towards pure childhood . The cuteness culture of kawaii originated in Japan in the 1960s in manga for girls , but the concept did not make its breakthrough in the Japanese mainstream until the beginning, in the mid-1970s, around the same time as the Heidi anime was broadcast. Heidi herself only fell into a broader general social trend. Due to the temporal coincidence, however, it is a kawaii prototype in Japan.

While Heidi's strong character and deep religious convictions were still a reason for her role model function in the 1950s, this aspect has now largely disappeared. In the meantime, Heidi and other female kawaii characters also represent a role model for women who, by imitating these characters, can extend a childlike girlie phase for a few years ( burikko ), before they meet the rather rigorous and conservative values ​​dominated role expectations of the housewife and mother must meet. Heidi advertising and merchandise in Japan is accordingly no longer aimed exclusively at children, but to a large extent at female, high-earning employees between 20 and 30.

Fan culture in Japan

Heidi is well known in Japan to be used as a test item for developing psychological test procedures in addition to general terms such as black / white or black hair / blonde . Heidi symbolizes - both in the book and in the anime, black-haired - the same thing as blonde / white / European. The Swiss journalist Roger Walch, who has been giving German courses at Japanese universities and the Goethe Institute since the late 1990s, reports that the associations with Switzerland that he asks at the beginning are always the same. In this order Heidi, the mountains, the neutrality and Andy Hug would come .

Amusement parks, larger or smaller, based on European themes are a more common phenomenon in Japan. For example, there is a smaller Heidiland directly in Japan in the Tōhoku region , where typical Swiss mountain huts can be found as well as a Heidi hut and a Matterhorn .

While former Heidi fans mainly read the novel and dealt with it, the success of the Heidi anime also marked the beginning of a new era in Heidi merchandise in Japan, which later spread to other countries. Their unusual products include, for example, a Heidi cheese fondue for the microwave. A Heidiland mineral water that came onto the market in Switzerland, Germany, Saudi Arabia and Japan in 2000, however, could not establish itself. The manufacturer finally filed for bankruptcy in 2007.

Japanese, Heidi and Switzerland

The influence that the Heidi figure has on Switzerland's image in Japan and Japanese tourism in Switzerland is difficult to assess. The figure Heidi is closely connected to the other positive attributes that the Japanese attribute to Switzerland: the Alps, unspoiled nature and carefree farming life. When asked what they wanted to enjoy in Switzerland in a survey of the Swiss tourism offices in Tokyo in the 1990s, the majority of those questioned answered: "I want to breathe fresh air to my heart's content on a green meadow and enjoy the atmosphere of Heidi." The Swiss traffic center mentions mountains, nature and alpine flora as the main incentives for Japanese tourists, but also explicitly Heidi. In another survey, the Japanese were also sure about the location. Although the Heidi story actually takes place in Switzerland as well as in Frankfurt am Main, Germany, Japanese Heidi readers almost unanimously named Switzerland as the setting for the novel.

Ichiro Ando from the Japanese information office in Grindelwald , in reality far removed from all places directly related to Heidi, describes the phenomenon that tourists want to see the Alps they know from Heidi. The former Foreign Minister René Felber called Heidi the ambassador of Switzerland , the linguist Roland Ris believes that no other book has shaped the image of Switzerland longer and more sustainably than Heidi.

Japanese tourism in Switzerland

The Heidi House in Maienfeld.

The Heidi myth is one of the reasons why the Japanese want to travel to Switzerland. Domenig is convinced that far more Japanese people in Switzerland are looking for their beloved Heidi and the idyllic, ideal world that she symbolizes than the Swiss themselves would like to admit. The Japanese represent the largest group of visitors from the Far East in Switzerland. In the years between 1976 and 2005, a total of 10 million Japanese traveled to Switzerland. These tourists are particularly popular because they spend on average three times as much money per day of travel as German or Swiss tourists. The travel wave peaked in 2000 with one million overnight stays, before SARS , H5N1 avian flu , the recession in Japan and the difficult air traffic after the 9/11 attacks hit the numbers.

In the Heidiland holiday area, for example, which owes its creation to international tourism, 60 percent of tourists come from Japan.

Japanese are an almost omnipresent reference in the travel descriptions of other tourists to “Heidiland”. The area itself is presented with train announcements in Japanese . Zermatt , about 200 kilometers away, has its own Japanese tourism office, and restaurants offer a Japanese menu. In the summer months, it is estimated that one sixth of the Zermatt population is Japanese. The attractions in "Heidiland" itself are as strongly oriented towards the anime as they are towards the novel. There is a character who played the dog Joseph who appears in the anime, but not in the novel. The goats' bells also correspond exactly to those from the television series. In Japan itself, however, there are also voices among Heidi fans who perceive Heidi tourism as too artificial and do not want their pure image of Switzerland from the Heidi novel and film to be destroyed by contact with real Switzerland, which is perceived as disappointing .

In contrast to other national stereotypes , the image of Switzerland in Japan is consistently positive. Many Japanese are well aware that real Switzerland does not necessarily correspond to that in Heidi. Heidiland itself, for example, is considered one of the three biggest flops in Switzerland in a popular travel guide, Domenig reports of disappointed reactions from Heidi fans to a documentary about Switzerland. Sometimes they contact the sender directly and ask for more consideration for their attitudes. They could well have success with that. The NHK director Noriko Miyazawa writes in her book on Switzerland : When I write something about Switzerland, it is not about sporting events, financial problems or international conferences ... I want to write about the encounter with the innocent landscape and the people with their clear faces . People will laugh at me because of my fairytale taste, but since I'm interested in fairy tales and children's stories, I also want to write about Heidi and the fairytale world that I felt on my travels through Switzerland.

Swiss reactions

Official representatives of Switzerland in and for Japan react ambivalently to Heidi's success. On the one hand, it is a popular starting point to focus on Switzerland itself. Reference can be made directly to Heidi as well as to individual motifs such as the Alps, animals or cheese. The Swiss representatives appreciate the generally positive Heidi associations, which, for example, are far removed from the typical reactions to Germany - sausage , Hitler , Autobahn , beer . On the other hand, Swiss public relations also tries to break away from the Heidi image, which is perceived as upright, and in particular to focus more on technology and progress in its campaigns. For example, the decision by Switzerland to forego various Swiss stereotypes when designing the Swiss pavilion at Expo 2005 in Aichi and instead to present the country exclusively as a modern, technically high-quality country was controversial . Heidi in particular has been missed by visitors so often that she should have an appearance again at the next Expo.

literature

  • Shoji Araki: The translation of “Heidi” in Japanese translation history. pdf (mostly Japanese).
  • Hans-Peter Bärtschi: Technology transfer - Japan's appreciation for Switzerland - the Heidiland. In: industrial culture. Preservation of monuments, landscape, social, environmental and technological history. 3, 2008, ISSN  0949-3751 , pp. 14-15.
  • Aya Domenig: "Cute Heidi". To Heidi's reception in Japan. In: Ernst Halter (Ed.): Heidi. Careers of a character . Offizin, Zurich 2001, ISBN 3-907496-09-4 , pp. 149-165.
  • Ueli Gyr: Heidi everywhere. Heidi figure and Heidi myth as identity patterns . In: Peter Niedermüller, Bjarne Stoklund (Eds.): Europe. Cultural Construction and Reality. Museum Tusculanum Press, Copenhagen 2001, ISBN 87-7289-686-8 , pp. 75-96.
  • Michael Hiltbrunner: Heidi in Japan . In: info + accents. 2, 2001, ZDB -ID 1375480-4 pp. 15-16.
  • Franz Hintereder-Emde: Stereotypes in conveying culture. Reflections on Heidi and the image of Switzerland in Japan. In: Atsuko Onuki, Thomas Pekar (ed.): Figuration - Defiguration. Contributions to transcultural research. Iudicium, Munich 2006, ISBN 3-89129-884-6 , pp. 373-383 ( The humanities series 2).
  • Ryo Kohsaka: Storyline of Two Heidi. From the results of audience studies in Japan and central Europe. In: Peter Lutum (Ed.): Japanizing. The Structure of Culture and Thinking in Japan. Lit Verlag, Berlin 2006, ISBN 3-8258-8067-2 , pp. 272-294.
  • Maya Mortimer: A Reporter's Dilemma. Nogami Yaeko in Heidiland. Followed by a Translation from Ô-Bei no tabi. In: Asian Studies. 61, 2, 2007, ISSN  0004-4717 , pp. 253-277.
  • Yumiko Bando Saito: Heidi in Japan. In: Verena Rutschmann (Red.): Johanna Spyri and her work - readings. Published by the Swiss Institute for Children's and Youth Media. Chronos-Verlag, Zurich 2004, ISBN 3-0340-0589-X , pp. 183–188 ( reports from the Swiss Institute for Children's and Youth Media 27).
  • David Singer: Heidi Superstar. In: Franziska Schläpfer (Ed.): Journey to Switzerland. Cultural compass for hand luggage. Unionsverlag, Zurich 2008, ISBN 978-3-293-20420-1 , pp. 139–145 ( Unionsverlag-Taschenbuch 420).

Television and radio

  • DRS: Magic Heidi. Shining light, national symbol and most famous Swiss ambassador of all time . Documentary originally broadcast December 19, 1991
  • Heidi - 03/11/2009 - Culture & Religion ( Memento from March 13, 2009 in the Internet Archive )
  • Stella Luncke and Josef Maria Schäfers: "Your world is the mountains ..." - Heidi, a star from Japan . Author feature for Südwestrundfunk 2008.

See also

Web links

Remarks

  1. ↑ http://www.ne.jp/asahi/ts/hp/file5_heidi/heidi_material/book01.html
  2. ↑ The exact number of Heidi translations is difficult to determine, the value varies greatly depending on the author. The largest available database lists 123 books, some of which are part 1 and 2 respectively. The number of 72 translators speaks for at least as many translations, Kohsaka (272) even speaks of 110 different translations
  3. ↑ a b Elizabeth R. Epperly, Irene Gammel: LM Montgomery and Canadian Culture . University of Toronto Press, 1999, ISBN 0-8020-4406-9 , pp. 201-205
  4. ↑ a b c Japan Times: Heidi gets a makeover, April 8, 2001
  5. ↑ FAQ ( Memento of the original from July 18, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / yukazine.com
  6. ↑ a b c d e f g Saito pp. 186–187
  7. ↑ a b c d e f Saito pp. 183-185
  8. ↑ Swiss News: Heidi's Real Mom
  9. ↑ a b Domenig pp. 164-165
  10. ↑ a b Rebecca L. Copeland: Woman critiqued: translated essays on Japanese women's writing . University of Hawaii Press, 2006, ISBN 0-8248-2958-1 , pp. 181-183
  11. ↑ Singer p. 140
  12. ↑ a b c d e Lyn Shepard: Heidi, an ambassador for Switzerland Swiss News, October 2005
  13. ↑ Fred Patten, Carl Macek: Watching anime, reading manga Stone Bridge Press, LLC, 2004 ISBN 1-880656-92-2 , p. 76
  14. ↑ Tagesschau: Big in Japan
  15. ↑ Hintereder-Emde pp. 377-380
  16. ↑ Volker Schubert: Pedagogy as Comparative Cultural Studies: Upbringing and Education in Japan VS Verlag, 2005 ISBN 3-531-14824-9 , p. 121
  17. ↑ Anime News Network: MOMA Presents Tribute to Miyazaki and Takahata
  18. ↑ Helen Hirt: Heidi, Animation, J / D, 1974: The Japanese popularizing adaptation Volkskundliches Seminar, University of Zurich 2004
  19. ^ A b Swissinfo.ch: Heidi and his alpine nirvana
  20. ↑ Video ア ル プ ス の 少女 ハ イ ジ .
  21. ↑ a b Singer pp. 144-145
  22. ↑ a b Kohsaka pp. 279-283
  23. ↑ a b c Domenig pp. 161–164
  24. ↑ a b c d Domenig pp. 152–155
  25. ↑ a b c d e f Hintereder-Emde pp. 373–377
  26. ↑ Kohsaka pp. 285-286
  27. ↑ Domenig pp. 160-161
  28. ↑ a b Singer pp. 142-143
  29. ↑ John Shelton Lawrence, Robert Jewett: Heidi visits a little House in the Prairie in: diess .: The Myth of the American Superhero Wm. B. Eerdmans Publishing, 2002 ISBN 0-8028-2573-7 , pp. 65-86
  30. ↑ Ueli Gyr : Guarantee certificate extended. What you can do with Heidi in terms of tourism. in: Christoph Köck, Deutsche Gesellschaft für Volkskunde (Ed.): Travel Pictures: Production and Reproduction of Tourist Perception Waxmann Verlag, 2001 ISBN 3-8309-1047-9 , p. 124
  31. ↑ Domenig 155–156
  32. ↑ a b Singer p. 141
  33. ↑ Kazuo Mori: Development of the FUMIE Test for Measuring Implicit Association of Target Words with Negative Emotions Paper presented at the 44th Annual Convention of the Japanese Society of Social Psychology, Tokyo pdf
  34. ↑ Roger Walch: Wake no wakaranai - Japan and Switzerland as pdf  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / www.rowmuse.com  
  35. ↑ a b Kohsaka pp. 287-291
  36. ↑ Enjoy your sushi at Christ's tomb Donald Richie: Enjoy your sushi at Christ's tomb in Times of Higher Education March 16, 2001
  37. ^ Dairy Foods: New Product Review International, June 1, 2006
  38. ↑ NZZ: Heidiland mineral water no longer bubbles , from January 29, 2007
  39. ↑ Switzerland Tourism Media Corner: Pioneering work in Japan  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / media.node5.ovaz.ch  
  40. ^ Dale Bechtel: The Japanese and their Swiss mountains swissonfo of March 19, 2005
  41. ↑ Günter Emerlich: And the HEIDILAND eternal lures in Die Zeit 46/1996
  42. ↑ Ursula Herrndorf: Myth and Media Star ( Memento from March 14, 2009 in the Internet Archive ) in Hamburger Abendblatt from March 2, 2004
  43. ↑ Emma Jane Kirby: Heidi draws pilgrims from Japan BBC v. September 25, 2001
  44. ↑ swissinfo.ch: Switzerland praises world exhibition as a success
This version was added to the list of articles worth reading on August 6, 2009 .