Academic literature on the topic 'Rilke, Rainer Maria, 1875-1926'
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Journal articles on the topic "Rilke, Rainer Maria, 1875-1926"
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Depotte, Jean, and Jean-Marie André. "Rainer Maria Rilke 1875-1926, le poète ultime." Hegel N° 1, no. 1 (2016): 66. http://dx.doi.org/10.4267/2042/58973.
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Gubergrits, N. B. "The last note in the notebook." Herald of Pancreatic Club 53, no. 4 (June 15, 2022): 36–37. http://dx.doi.org/10.33149/vkp.2021.04.05.
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René Karl Wilhelm Johann Josef Maria Rilke (4 December 1875 — 29 December 1926), better known as Rainer Maria Rilke, was one of the most influential modernist poets in the 20th century. He wrote both verse and prose. His writings were greatly influenced by the philosophy of existentialism.
Born in Prague, had Austrian citizenship, wrote in German. Lived and worked in Trieste, Paris, Switzerland. At the end of his life, suffering from pancreatic cancer, he described his torment in verse.
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Anan, Sylvia Tamie. "Entre a Pantera e o Anjo: Geir Campos e a recepção de Rainer Maria Rilke no Brasil." Opiniães, no. 12 (July 29, 2018): 50–62. http://dx.doi.org/10.11606/issn.2525-8133.opiniaes.2018.142722.
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A geração de 45 caracterizou-se, entre outras questões, pela eleição de grandes nomes da literatura europeia como paradigma da lírica, como T.S. Eliot, Paul Valéry e Fernando Pessoa. Entre estes, o poeta de língua alemã Rainer Maria Rilke (1875-1926) passou, a partir do final dos anos 40, a ser lido, traduzido e comentado no Brasil. Ainda que parte da crítica defenda que os poetas da geração de 45 baseavam-se apenas na sua obra tardia, de Sonetos a Orfeu e Elegias de Duíno, a leitura dos poemas mostra-se muito mais assistemática e baseada em uma interpretação biografizante. Entre estes poetas, Geir Campos destaca-se pelo trabalho prematuro de traduzir os poemas de Rilke, ao mesmo tempo em que a escolha destes poemas e modificações no trânsito entre a língua-fonte e a língua-objeto forjam uma determinada imagem do autor traduzido, que encontra reflexos na própria obra poética de Campos.
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Russ, Nicole. "Le thème de la mort dans l’oeuvre de Rainer Maria Rilke." Santé mentale au Québec 7, no. 2 (June 12, 2006): 147–50. http://dx.doi.org/10.7202/030153ar.
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Résumé Rainer Maria Rilke est né à Prague en 1875. Toute son oeuvre poétique a été rédigée en allemand sauf quelques poèmes écrits en français. Il existe d'ailleurs des traductions française et anglaise de son oeuvre. Dans cet article, l'auteur étudie le thème de la mort dans l'oeuvre de ce poète. L'angoisse de la mort et la nécessité d'y répondre ont été dans l'oeuvre de Rilke une force d'inspiration. L'auteur présente trois aspects de ce thème : le concept de l'Ouvert (das Offene), la mort vue comme un acte personnel et la mort comme compagne de la vie.
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Tavis, Anna A. "Russia in Rilke: Rainer Maria Rilke's Correspondence with Marina Tsvetaeva." Slavic Review 52, no. 3 (1993): 494–511. http://dx.doi.org/10.2307/2499721.
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Rainer Maria Rilke's widely celebrated fiftieth birthday in December 1925 and his sudden death on 29 December 1926 framed his correspondence with members of Boris Pasternak's family and Marina Tsvetaeva- Efron, for which Leonid Pasternak's initial greetings to his old Moscow friend and Rilke's prompt reply had set the stage. It was agreed that Rilke's letters from Switzerland would be sent to Boris Pasternak in Moscow via Marina Tsvetaeva in Paris. Against all historical and political odds, the three poets decided to form a union, the last one, perhaps, of an era which still believed that the making of poetry equaled the making of life. Rilke's participation in this association reassured uprooted Russian writers of their continuing link with European culture and history.
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Barreto, Matheus. "“Dança de força”: elementos estruturais em três traduções de Rainer Maria Rilke." Cadernos de Tradução 40, no. 3 (September 11, 2020): 109–31. http://dx.doi.org/10.5007/2175-7968.2020v40n3p109.
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No presente artigo, pretendo investigar se e em que medida os elementos estruturais do poema “Der Panther” (“A pantera”) de Rainer Maria Rilke foram recriados por três de seus mais reconhecidos tradutores brasileiros, a saber: por Geir Campos (1924-1999) em 1953, por José Paulo Paes (1926-1998) em 1993 e por Augusto de Campos (1931- ) em 1994. Partindo do pressuposto apresentado por Haroldo de Campos no ensaio “Da tradução como criação e como crítica” (1963), segundo o qual a tradução de poesia seria um trabalho com o “próprio signo, ou seja, sua fisicalidade, sua materialidade mesma” (Campos 34), pretendo apontar primeiramente a importância ainda maior de tais elementos naqueles poemas rilkeanos que, como “Der Panther”, vêm sendo há quase 100 anos descritos pela crítica (Müller 298) como “Dinggedicht” (ou “poema-coisa”); realizando, em seguida, uma breve análise dos elementos estruturais do poema original (aqui entendidos como metro, aliterações, assonâncias, movimento frasal e outros aspectos da materialidade do signo linguístico); para chegar, finalmente, a uma breve leitura comparada das maneiras como os três tradutores lidaram com esses elementos estruturais em suas respectivas traduções para o português.
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Pedneault-Deslauriers, Julie. "Webern’s Angels." Journal of Musicology 32, no. 1 (January 1, 2015): 78–114. http://dx.doi.org/10.1525/jm.2015.32.1.78.
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Anton Webern’s Two Songs, Op. 8 on Poems by Rainer Maria Rilke (1910-1926) stand at the intersection between the composer’s spiritual ideals involving a fascination for angels, his personal circumstances at the time of the songs’ composition, and the literary influences of Weininger, Balzac, and especially Rilke. The Lieder absorb the Rilkean notions of transcendence and “intransitive love,” themes developed in the novel The Notebooks of Malte Laurids Brigge, the source of Webern’s texts. According to Rilke, lovers access the higher spiritual realm of angels by forsaking (rather than yearning for) proximity and possession. This concept resonates with the relationship Webern crafts between the chamber orchestra and the vocal line, one that eludes the goals it projects and expresses quasi-intangible motivic connections that dematerialize as soon as they form. The Op. 8 songs represent a turning point that reverberated throughout Webern’s personal and spiritual life: the promise of transcendence that Rilke’s poems held was couched in terms that echoed the hardships and rewards of his relationship with his future wife and, at the same time, resonated with the composer’s religious and artistic morals.
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Jasaitytė, Jūratė. "The Construction of the Reception of Rilke and the Contexts of the Soviet Period." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (March 10, 2022): 95–104. http://dx.doi.org/10.37384/aplkp.2022.27.095.
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Written in spirit of literary hermeneutics, this article presents the research of the reception of Rainer Maria Rilke (1875–1926) in the Lithuanian Soviet period as well as the related problems. In this sense, the aim of such research could be treated as the process of creating an academic text. Its reconstructive origin impels us to question the relatively proper level of the existing investigation and discuss its fragmentary mode. In this case, it is necessary to introduce such aspects of this type of reconstruction based on the previously accomplished texts and results of the research, e. g. so-called “taxonomy”, chronologies, comprehensible and consistent narrative of the literary history, etc. The double effect of the latter, as positive prejudices (according to the German term Vorurteile), significant approaches or as stereotypic judgements, popular clichés, to the potential researcher must also be taken into consideration. The epoch in mind – The Soviet period – possesses multifarious ambiguities and binary systems. For this reason, the whole unity of the contexts of literary science, literary critique, and even literary policy and politics is relevant for this type of reconstruction of the reception. Though the article follows a certain chronological sequence, which is merely for pragmatic convenience, nevertheless it questions the very implications of the “evolution” of the reception, the literary and historical periodization, etc. The first part of this text deals with the theoretical overview of the basic problems mentioned above. In the second part, those problems are included in the context of the research of the reception of Rilke in Lithuanian literature of the Soviet period. According to the claims of literary scientists, ambiguity is one of the main characteristics of the Lithuanian Soviet period that affected the whole of literary reality: the practices of reading, translations, the behavior of readers, etc. Besides, it necessitated the various semantic actions in order to adapt to the conditions of the shifting socialism. On the other hand, Rilke as an author of the bourgeois West had to be included in the dialectics of the constant interplay between ideological conformism and intellectual opposition. As could be seen further, there were different phases of the reception of Rilke in the Soviet Lithuanian literature. By the way, at least two different types of readers (“dependent” vs. “opposing”) and the variety of the reading strategies were created.
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Polo, José. "Traducciones de Emilio Gómez Orbaneja (1904-1996) de dos «cartas poéticas» de Rainer María Rilke (1875-1926) (también para el legado Dámaso Alonso)." Del Español. Revista de Lengua 1 (September 27, 2023). http://dx.doi.org/10.33776/dlesp.v1.7936.
Full textDissertations / Theses on the topic "Rilke, Rainer Maria, 1875-1926"
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Barbotin, Frédéric. "Le silence dans l'oeuvre de Rainer Maria Rilke." Paris 12, 2002. http://www.theses.fr/2002PA120057.
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Né en 1875 à Prague, mort en 1927 à Valmont, en Suisse, l'écrivain germanophone RAINER MARIA RILKE a laissé une oeuvre épistolaire, narrative et poétique d'une portée considérable. L'étude que nous présentons ici vise à montrer dans quelle mesure cette oeuvre est déterminée par une poétique du silence. Le silence se définit tout d'abord par son opposition au bruit, compris comme l'ensemble des perturbations de nature physique, psychique et relationnelle qui compromettent le travail créateur en faisant écran au silence (première partie). Toutefois, le silence peut se révéler également négatif et destructeur: l'intériorité se referme au point de s'effondrer sur elle-même, menant à une privation de monde à laquelle le poète ne peut échapper qu'en passant par une crise paroxystique qu'illustre la thématique du cri (deuxième partie). Après ce tournant, le silence change de nature, devient constructeur et se fait porteur de guérison: tant pour les êtres humains, qualifiés de silenciaires, que pour les créatures animales constituant un bestiaire, et les choses qui réservent de précieuses leçons (troisième partie). Alors se manifeste , à travers la dialectique du dicible et de l'indicible, le caractère paradoxal du silence (quatrième et dernière partie). En conclusion, nous pouvons affirmer que la poétique du silence tient une place centrale dans l'oeuvre de Rilke en déterminant un cheminement et un rapport au mondeThe German speaking writer RAINER MARIA RILKE, who was born in Prague in 1875 and died in Valmont, in Switzerland, in 1927, left behind him epistolary narrative and poetic works of considerable importance. The study which we are presenting here intends to show to what extent these works may be determined by the poetics of silence. Silence may first of all defined through its opposition to noise, meaning all physical, psychic and relational disturbances which compromise creative work by blocking out silence (Part one). However, silence can also turn out to be negative and destructive: the interiority closes up to the point at which it collapses into itself, leading to a deprivation of the world from which the poet can only escape by undergoing a paroxysmic fit illustrated by the theme of the cry (Part two). After this turning point, the nature of silence changes becoming constructive and healing: as much for human beings qualified as "silenciary", as for animals forming a bestiary, and for things which hold precious lessons (Part three). Only then does the paradoxical nature of silence show itself through the dialectic of what can or cannot be said (Final part). In conclusion, we can affirm that poetics of silence have a central position in the works of RILKE by determining a progression and a relationship with the world
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Alberti, Olympia. "De l'être à soi ou l'épistolarité et la création chez Rainer Maria Rilke." Nice, 1995. http://www.theses.fr/1995NICE2019.
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Fondée sur l'oeuvre poétique, romanesque et la correspondance intégrale de Rilke, la recherche pose d'abord la problématique de l'écriture épistolaire, et montre en premier lieu la trajectoire, chez Rilke, de "l'écrire à l'autre" comme le jeu apparent d'une dualité entre l'être et le monde (le moi et l'autre). On étudie ensuite la lettre comme mode de vie rilkéen privilégié (écrire, c'est vivre), puis comme multiple espace de réflexion sur la création, et une fois la lettre devenue oeuvre plénière, il apparaît que l'acte épistolaire repose sur un véritable mouvement vers soi, puis, avec l'oubli de la partition entre l'autre et le moi, sur une authentique trajectoire créatrice vers le soi. (De nombreux correspondants interviennent, dont Lou Andreas-Salomé, Marina Tsvetaieva, et Boris Pasternak)Based on Rilke's poetic works, novels and, especially letters, this research settles the problem of epistolary writing, and shows in a first part the process of "writing to another", beyond the appearance of duality between the being and the world (the self and the other). The letter is then studied as the prefered rilkean way of life ("to write is to live"), then as the multiplied space of theoric thoughts about the act of creation. And when the letters have reached a sort of unity (a book), the epistolary act appears as built upon a true movement towards one's self, with forgetting the difference between the others and the self, it is based on an authentic work of creation towards the oneself. (many correspondents take place in this thesis, among them : Lou Andreas-Salomé, Marina Tsvetaieva, Boris Pasternak)
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Winkelvoss, Karine. "Image et écriture : arts visuels et réflexion poétique chez Rilke." Paris 3, 2001. http://www.theses.fr/2001PA030158.
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Oeuvre de la vision est faite, fais maintenant oeuvre de coeur. Ce tournant formulé en 1914 a pu suggérer que l'oeuvre de Rilke se divisait en une poétique du visible, de l'apprendre à voir, du regard "objectif" marqué par le modèle des arts visuels (notamment Rodin et Cézanne), et une poétique de la pure intériorité, détournée du visible et dans laquelle la référence aux arts visuels serait abandonnée. Pourtant, la notion centrale de figure ne se réduit ni à la simple imitation du visible que suggère le terme de "figuratif", ni à son abandon dans une figure poétique avisuelle qui relèverait, soit d'un discours philosophique (l'image réduite à l'idée), soit d'une logique formaliste (l'image réduite au simple jeu du signifiant). La figure chez Rilke relève bien plutôt d'un travail de la figurabilité (Darstellbarkeit) ; ce concept freudien permet de comprendre la défiguration comme constitutive de la figuration et de soustraire la figure à l'alternative du "figuratif" et du "non-figuratif", abusivement appliquée à l'oeuvre de Rilke comme à la peinture de la même é^poque. .The work of the sight is done, turn now to the work of the heart. To critics, this 1914 turning (Wendung) often suggests that Rilke's work is divided between, on the one hand, his poetics of the visible, his "learning to see", an objective" sight strongly influenced by the visual arts (for instance by Rodin and Cézanne) ; and on the other, a poetics of pure interiority which has cut loose from visibility and no longer refers to the visual arts. However, the figure, a central Rilkean concept, is neither the straightforward imitation of the visible that the term "figurative" suggests, nor a denial of the visible, an avisual poetic figure working within a philosophical framework (image as pure idea) or a formalist one (image as a pure interplay of signifiers). Rilke's figure springs rather from figurability (Darstellbarkeit), a Freudian concept which presents defiguration as a constituent part of figuration, and which dismisses the alternative between "figurative" and "non-figurative", in which interpretations of Rilke's work, as well as of painting in his time, are often imprisoned
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Liebich, Jens. "Poetik der Interaktion." Thesis, Nantes, 2019. http://www.theses.fr/2019NANT2031.
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Selon Rilke lui-même, l'évolution de Malte ne mène pas nécessairement à la « béatitude >>, mais peut tout aussi bien finir en « naufrage ». À partir de cette polarité, nous montrons comment Les Cahiers de Malte Laurids Brigge forment un texte structurellement ambivalent. À l'intérieur du roman, le persoimage ne parvient pas à accomplir la transformation qu'il esquisse sur le plan théorique; en revanche, la forme du roman accomplit ces transformations sur le plan poétologique par les innovations apportées aux procédés d'écriture et par le montage ouvert du récit. Malte lui-même anticipe cette évolution dans ses remarques sur « la genèse de la poésie » au fragment 14. Il se livre à une introspection approfondie, examinant les conditions d'émergence de ses poèmes, et fondant par là-même la trame narrative qui, oscillant entre décomposition et recomposition, insufflera aux Cahiers leur dynamique, Cette énergie porte le sujet écrivant, le contenu et la forme même du roman. Ainsi assiste-t-on à la fragmentation et au naufrage du sujet traditionnel de la littérature, tandis qu'en se réfugiant dans I'« unité » de Part, Malte se constitue par le processus d'écriture en « sujet dialogique »d'un« dialogue ouvert» (P. Zima). C'est pourquoi l'évolution de Malte ne mène ni à la béatitude, ni au naufrage: elle est plutôt le commencement d'une transformation infinie du sujet et de son mondeRilke's Notebooks has always given rise to the question whether Malte's development could be interpreted as a decline or an apotheosis, leading to the thesis of a "double readability' of the text. Following this thesis, a text-immanent interpretation displays the fundamental ambivalent structure of the novel. lt becomes evident that the evolution of the text at a formal level remains unattainable to the protagonist in terms of content. The development of Notebooks is foreshadowed by Malte himself in the fourteenth chapter, where he reflects in detail on the genesis of poetry. Concerning this, it is an indispensable prerequisite to accept all adversities and experiences of life - without exception or selection. With this understanding, Malte creates the decisive foundation for the narrative style, which defines Notebooks by a 'wave-like' movement of decomposition and recomposition, thus influencing the writing subject, the content, and the form of the text. Even though this could have meant the decline of the subject - just as one would have inferred until the release of Notebooks - Malte, by taking refuge, in the 'wholeness' of art, became himself a "dialogical subject" in an "open dialog" (P. Zima) through the process of writing. As such, Matte's development is neither a decline nor an apotheosis; it is the beginning of an infinite modification of the subject and his world
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Dowrick, Stephanie B. "Rainer Maria Rilke : bearing witness." Thesis, View partial thesis, restricted access, 2008. http://handle.uws.edu.au:8081/1959.7/44105.
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This study of the poet Rainer Maria Rilke (1875-1926) explores both epistemological and ontological themes, explicitly asking what readers may “bear witness to” within themselves, as well as on the page, through their reading. The primary question of the study comes from Martin Heidegger’s essay on Rilke when (quoting Hölderlin) he asks: “What are poets for (in these destitute times)?” and whether this has genuine significance beyond entertainment or diversion. The spiritual complexity of Rilke’s work has been of some interest to many scholars. In this study I centralise that interest at book-length for the first time since Frederico Olivero’s 1931 study of mysticism in Rilke’s work. Also for the first time I privilege the perspective of the contemporary general reader, looking at the spiritual variances and ambiguities within Rilke’s work and why they may have a particular resonance for twenty-first century readers. This allows for a more diffused discussion about reading as well as writing, with attention to the acquisition of knowledge and the forces of imagination and inspiration as well as subjectivity. The study looks closely at Rilke’s poetry, from the popular Book of Hours to the more challenging Duino Elegies and Sonnets to Orpheus, as well as the varied translations into English, using that variety to intensify insights about the inevitable subjectivity of readers as well as translators. I discuss Rilke’s psychologically and socially complex life, revealed in part through his legacy of more than 10,000 letters. How readers “read” the life of a writer self-evidently colours their reading of the work. I propose that this simultaneously allows for an enhanced “reading” of and greater understanding of their own spiritual or existential needs and individual subjectivity. The study calls on the work of a number of critics outside the field of literary studies. These include the psychoanalytic writers Alice Miller and James Hillman and the philosophers Hans-Georg Gadamer, Iris Murdoch, Gaston Bachelard, John Armstrong, George Steiner, Gabriel Marcel, Rudolf Otto and Martin Heidegger. The study speaks both explicitly and implicitly for John Keats’s idea of “negative capability” and the specific demands of bringing to the reading of Rilke, and the writing about him, the receptiveness and concentration of a “poet’s” mind where, as Rilke himself urged, questions can matter more than answers and the need for absolutism can be postponed.
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Carré, Martine. "Les "Élégies de Duino " ou la quête de la totalité." Paris 3, 1994. http://www.theses.fr/1995PA030076.
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Cette étude se propose d'approcher les "Elégies de Duino" sous l'angle de leur travail d'écriture. Elle suit d'abord la direction indiquée par le titre : celle de la plainte. Elle conclut à la désespérance d'un sujet ne connaissant de la temporalité que les aspects négatifs et vivant sur le mode de la nostalgie dans la conscience aigüe du moment qui fut pour lui décisif : celui du renversement catastrophique opéré par la "conscience dialectique" de l'homme. Forte de cette découverte, la lecture se réoriente à la lumière des contradictions de la "Quatrième Elégie". A l'acmé de la déploration, elle découvre le désir qui inscrit, lui, le texte dans le sens de la progression. Un renversement second s'opère alors. Il est redressement salvateur et inscrit l'homme dans son sens : celui de la loi dynamique et féconde du processus. Le texte s'avère champ de forces, son enjeu : la quête de la totalité toujours partielle d'un sujet vivant maintenant dans un présent toujours plus riche du passé. La métamorphose apparaît comme lieu privilégié de cette entreprise de totalisation. La lecture n'a plus qu'à repenser le cycle en se demandant s'il réalise cette métamorphose, si dans l'instant privilégié de sa rédaction, il pose lui-même la totalité du genre dans lequel il déclare s'inscrire. Cette réflexion conduit à une prise en compte de l'histoire du cycle, elle même. Ayant découvert le processus comme enjeu et "moyens" du poème, elle le découvre active dans sa genèse même. Le travail se démarque ainsi de certaines analyses réduisant l'oeuvre rilkéen à une seule structure anhistoriquement prise en charge par la parole poétiqueThis study intends to deal with the "Elegies of Duino" from the angle of the work of their writing. It first follows the ways indicated by the title, the one of the complaint. It concludes with the despair of a subject who knows nothing of temporality but the negative aspects and who lives on a nostalgic mode with the acute consciousness of the moment that was decisive for him, the one of the catastrophic reversal opered by the "dialectic consciousness" of man. The reading thus strengltened with such discovery is altered in the light of the contradictions of the "fourth elegy". At the climax of lamentation, it discovers the desire that is what sets the text on to the way of progress and of the law of process. A second reversal is then to be operated. It functions as a saving shift and sets man in his way, i. E the one of the dynamic, fertile law of process. The text turns out to be an area for forces to converge. What is at stake is the quest of the ever partial totality of a living subject now in a present that keeps enriching itself with the past. The metamorphosis appears as the privileged place for this attempt at totalisation. The reading must finally ponder over the cycle and wonder whether it realizes this metamorphosis, whether in the privileged instant of its drafting, it sets the totality of the genre within which it proclaims to define itself. This reflexion leads to the realization of the very history of the cycle. Having discovered the process as the stake and moving force of the poem, it now discovers it as active in its very genesis. The work thus differs from some studies that reduce the rilkean work to one single structure anhistorically taken in charge by poetic speech
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Hengl, Hugo. "Vu avec l'ouie : une étude acroamatique comparée des oeuvres de Fernando Pessoa et de Rainer Maria Rilke." Nice, 2012. http://www.theses.fr/2012NICE2031.
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Ce travail se propose de comparer les oeuvres de deux représentants majeurs de la modernité poétique du tournant du XXe siècle, Fernando Pessoa et Rainer Maria Rilke, que rapproche notamment la propension à produire des modèles poétiques multiples et concurrents. On suppose ici que ce phénomène, associé généralement à la « crise du moi » qui caractériserait cette période artistique et littéraire, n’est par ailleurs pas étranger au fait que les deux poètes entretiennent dans leur rapport au monde et à la création un intérêt particulier pour l’ouïe et le domaine du sonore, aussi bien sur le plan de la production que de la réception (le « poïétique » et l’« esthésique », selon une terminologie proposée par Paul Valéry). L’étude s’intéresse ainsi à diverses facettes des oeuvres des deux poètes, de leur conception de l’inspiration poétique et de la notion de rythme à leur recours à des techniques de spatialisation, en passant par d’autres aspects qui leur sont communs, tels que l’écriture théâtrale, l’intérêt pour le spiritisme ou encore la traduction et l’écriture en langue étrangère. L’établissement de parallèles selon un tel « point d’écoute » acroamatique voudrait permettre de mieux cerner la modernité (et l’anti-modernité) propre aux deux auteurs et, par extension, contribuer à la définition de leur pertinence particulière dans le contexte de la post-modernitéThis study intends to compare the works of two leading representatives of poetic modernism at the turn of the 20th century, Fernando Pessoa and Rainer Maria Rilke, who notably shared an inclination for producing multiple and concurrential poetic models. The study’s author assumes that this phenomenon, commonly linked to a « crisis of the self » characteristic of this artistic and literary period, is eminently related to the fact that both poets had a keen interest in the realm of sound and hearing, at the poietic (the side of production) as well as the aesthesic level (i. E. The level of aesthetic reception), to borrow a terminology coined by Paul Valéry. The study therefore focuses on several facets of the work of the two poets, ranging from their conception of poetic inspiration and the notion of rhythm to their resort to techniques of spatialization, along with other aspects common to both, as dramatic writing, the interest in spiritism, translation and writing in a foreign language. By establishing parallels from an acroamatic « point of hearing », the study aims at allowing for a better understanding of the two authors’ specific modernism (and antimodernism), as well as beginning to trace out their relevance in the context of postmodernism
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Balg, Marie-Christine. "« Être à l'écart », la poésie de Rilke dans le contexte de ses traductions du français et du danois : étude de trois motifs." Electronic Thesis or Diss., Toulouse 2, 2022. http://www.theses.fr/2022TOU20075.
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La recherche présentée repose sur deux principes qui sont l’étude de la poésie de Rainer Maria Rilke considérée entre les influences françaises et scandinaves, à travers les œuvres que le poète a traduites du français et du danois, comparées aux Élegies de Duino et aux Cahiers de Malte Laurids Brigge. Le second principe conducteur est le concept du „Abseits-Sein“, „être à l’écart“, sujet innovant développé dans mon travail de Magister (Master 2), à Tübingen, Allemagne. Cela désigne une façon d’être, toujours un peu à distance de toutes les tendances définitivement établies, les écoles, ou traditions, dont le poète se rapproche en même temps, et qui deviennent les matériaux de son œuvre originale.Il s’agit donc d’une exploration de ce que l’on peut découvrir dans les intervalles.Pour cela, nous avons choisi d’étudier trois motifs fondamentaux de Rilke qui sont l’amour non possessif, l‘ opposition entre l’homme et la femme et son évolution vers l’équilibre entre deux êtres humains nouveaux, et enfin celui du renoncement à la durée selon les critères de la société et du rôle créateur de la disparition représentés dans le motif du chant.Il s’agit donc des limites et du dépassement de la condition humaine.Une poésie tout à fait innovante fait surgir une vision du monde toute neuve, celle de Rilke, à l’écart de toutes les traditions, à l’écart du monde pré-défini par la société humaine. L’attitude de l’être humain individuel ne sera pas dictée par le groupe que constitue la société. Les bases en sont a conscience individuelle, le renoncement aux formes rigides, le relation remplaçant la possession, et l’intériorisation du vécu transformé par l’amour universelThe research presented here includes two main principles, firstly an analysis of Rainer Maria Rilke's poetic work between French and Scandinavian influences due to the works he translated compared to his work especially "Duineser Elegien" and the novel "Die Aufzeichnungen des Malte Laurids Brigge" and secondly the innovative concept of "being apart" ("Abseits-Sein", être à l'écart), previously introduced by me in a master's thesis at the University of Tübingen (Germany). This denotes a way of being that always keeps a distance from a firmly established literary schools or art movements or other traditions, but at the same time Rilke approaches them, and these traditions provide material for his original work. It is therefore an investigation of what can be discovered in the spaces between. For this, 3 basis motifs of Rilke are chosen : the non-possessive love, the opposition between man and woman (and the evolution towards an equilibrium between two new human beings) and finally, the motif of duration and disappearance staged with the means of the song. So it is about human conditions, its limits and its transgression. A quite innovation poetry leaves a whole new vision of the world, that of Rilke, apart from all traditions, apart from the predefined world of society. While society is organized in groups, in constrat, Rilke prefers the assessment by the individual human being. The basic features of this (Rilkes) world are the individual consciousness, the renunciation of rigid forms, the relation of other subjects instead of possession of objects, the internalization of the experienced transformed by the universal love
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Grimm, Sieglinde. "Sprache der Existenz Rilke, Kafka und die Rettung des Ich im Roman der klassischen Moderne /." Tübingen : Francke, 2003. http://catalogue.bnf.fr/ark:/12148/cb38976832r.
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Happ, Julia Stephanie. "Literarische Dekadenz : Denkfiguren und poetische Konstellationen bei Thomas Mann, Hugo von Hofmannsthal und Rainer Maria Rilke." Thesis, University of Oxford, 2009. https://ora.ox.ac.uk/objects/uuid:bb5baef5-de44-499c-a246-b609a3f0caff.
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My D.Phil, dissertation sheds new light on German literary decadence around 1900, its universal concepts, plurality of discourses and poetic transformations. The heuristic value of my dissertation is a refined differentiation of Dekadenz which reconstructs the literary history of the concept and for the first time proposes specific poetic constellations. In chapter 1, decadence is reviewed with its rich research heritage and introduced as a decisive concept and discourse of aesthetic modernism. Although much has been written on decadence, the concept is clearly in need of scholarly reconsideration. I argue that decadence is not only a vague epochal construct and an ensemble of motifs, but also encompasses discourses, universal concepts and a versatile literary style. In view of the stylistic eclecticism around 1900, I argue that decadence is a dynamic and malleable concept which can be combined with other aesthetic styles, movements and philosophical contexts depending on the specific author. Chapter 2 contextualizes Dekadenz from its etymology and central discourses to its universal concepts. Etymologically derived from the Latin verb de-cadere decadence signifies a downward movement and a figure of fragmentation. It evokes cultural and political decline especially that of the Roman Empire (décadence romaine) and undergoes various aesthetic transformations (1857-1894). After touching upon the precursors Baudelaire (1857), Bourget (1883) and Bahr (1889-1894), I dwell on Nietzsche to demonstrate the philosophically complex German double evaluation of decadence. I derive three universal concepts from Nietzsche (health vs. sickness, endings vs. new beginnings, fragmentation vs. wholeness) which are crucial to my literary analysis. My comprehensive literary analysis centers on three specific poetic constellations of decadence between late realism and aesthetic modernism. Chapter 3 illuminates Mann's spätrealistische Dekadenz (1894-1924) with his (Nietzschean) double evaluations. Transformations of decadence are shown in his early novellas, Buddenbrooks, Der Tod in Venedig and Der Zauberberg. Chapter 4 illustrates Hofmannsthal's ästhetizistische Dekadenz (1891-1902) in his early essays, his prose fragment Age of Innocence and Das Märchen der 672. Nacht. A significant transformation of decadence is illuminated in Ein Brief (1902), where Nietzschean decadence is concentrated and tentatively overturned. In chapter 5, Rilke's modernistische Dekadenz (1898-1910) is shown from his early fragment Ewald Tragy to his only novel Die Aufzeichnungen des Malte Laurids Brigge. His novel attempts a poetic 'revaluation of all values' and culminates in the emergence of a genuinely modernist decadence.
Books on the topic "Rilke, Rainer Maria, 1875-1926"
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Ritter, Ina. Die Epiphanie des Augenblicks: Wahrnehmung und Projektion bei Rainer Maria Rilke und Jens Peter Jacobsen. Frankfurt am Main: P. Lang, 2009.
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Rilke, Rainer Maria. Lettres à un jeune poète : proses poèmes français. [Paris]: Librairie Générale Française, 1989.
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1943-, Söring Jürgen, Weber Walter 1945-, and Internationales Neuenburger Kolloquium (1992), eds. Rencontres Rainer Maria Rilke: Internationales Neuenburger Kolloquium 1992. Frankfurt am Main: P. Lang, 1993.
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Garbisdorf, Galerie im Quellenhof, ed. "Du musst dein Leben ändern": Rainer Maria Rilke (1875-1926). Altenburg: E. Reinhold Verlag, 2015.
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1933-, Metzger Erika A., and Metzger Michael M, eds. A companion to the works of Rainer Maria Rilke. Columbia, S.C: Camden House, 2004.
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1933-, Metzger Erika A., and Metzger Michael M, eds. A companion to the works of Rainer Maria Rilke. Rochester, NY: Camden House, 2004.
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Rilke, Rainer Maria. Rainer Maria Rilke: Selected poems. 2nd ed. New York, N.Y: Routledge, 1990.
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Rilke, Rainer Maria. Rainer Maria Rilke: Selected poems. 2nd ed. New York: Methuen, 1986.
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Prater, Donald A. A ringing glass: The life of Rainer Maria Rilke. Oxford: Clarendon Press, 1993.
Find full textBook chapters on the topic "Rilke, Rainer Maria, 1875-1926"
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Struve, Ulrich. "Rainer Maria Rilke (1875–1926)." In Der Findling Kaspar Hauser in der Literatur, 117. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03383-3_25.
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Prinsloo, Paul. "14. Born Curious and in Trouble: Making Sense of Writing." In Research, Writing, and Creative Process in Open and Distance Education, 197–212. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0356.14.
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In this chapter, I enter into a conversation with Rainer Maria Rilke, a German poet born in 1875. Using Rilke’s advice to Kappus and Rilke’s very personal reflections on his own writing processes as basis, I reflect on my own history of writing, my processes, and my discomfort with feelings of self-doubt when comparing myself with my peers, or worst still, when I am compared to my peers. And while I embrace this inner compulsion to write, this exhilaration and joy to be curious and reflect, the total madness of researcher rankings and quantification of outputs compels me to listen to Rilke, go deep inside me and discover that I have no choice, I must write. Like Rilke, I see my writings as “beloved possessions,” making audience responses and critical reviews a dark trap; and on the other hand, confirmations that I do get it right, sometimes. Being in conversation with Rilke allowed me to confront my demons and embrace the darkness that has become a companion; and to be in awe of life and death, and the greatness and splendour of both.
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Manning, Jane. "PETER WIEGOLD (b. 1949)Les Roses (1998)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 312–16. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0087.
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This chapter features Peter Wiegold’s Les Roses. It shows how this cycle carries intriguing detail and fascinating effects which come off brilliantly, despite demands of range and flexibility. The Jo Shapcott poems, written from the rose’s viewpoint, and set impeccably, are her personal response to a sequence by Rainer Maria Rilke (1875–1926). Wiegold’s notation is admirably clear and precise—he resorts to space-time notation at key moments for added freedom. Expressive instructions are succinct and always to the point. He even allows the singer licence for occasional improvisation around held notes, and discreet embellishments to written trills and slides. Thus, his innate sensitivity to the performer’s need for spontaneous creativity is as exemplary as it is unusual.
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Ruprecht, Lucia. "A Second Gestural Revolution and Gesturing Hands in Rainer Maria Rilke, Auguste Rodin, Mary Wigman, and Tilly Losch." In Gestural Imaginaries, 51–70. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659370.003.0003.
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This chapter has two aims: to trace in more detail gestural dance’s ability to realize what Susan Leigh Foster calls “physicality as a discourse”; and to show how modernist dance reflects upon this discursiveness through the pronounced and sometimes self-referential use of hands. Addressing modernist choreography as a second gestural revolution, the chapter argues that it constitutes a recovery, on its own terms, of the meaningful corporeality that was established by the first gestural revolution of the eighteenth-century ballet reform. In order to test Jacques Rancière’s modernist aesthetic of the autonomous subject on a set of examples, the chapter also explores Hilde Doepp’s 1926 book Träume und Masken (Dreams and Masks), Rainer Maria Rilke’s writings on Auguste Rodin, photographs of hands by Albert Renger-Patzsch and Charlotte Rudolph, and the queer aesthetic of Tilly Losch’s Tanz der Hände (Dance of the Hands).
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Hoelzel, Alfred. "Thomas Mann’s Attitudes Toward Jews and Judaism: An Investigation of Biography and Oeuvre." In Studies In Contemporary Jewry An Annual, 229–53. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195061888.003.0010.
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Abstract Thomas Mann (1875-1955), one of Germany’s finest novelists, ranks securely among the giants of twentieth-century literature. However, Mann’s significance extends much beyond his fiction. As an intellectual whose career traversed seven fateful decades of German history and culminated in American and Swiss exile during a cataclysmic war and its controversy-filled aftermath, Mann, unlike such men as Rainer Maria Rilke or Hermann Hesse, never chose to stand aloof from the hurly-burly of his time. On the contrary, Mann’s intimate engagement with his socio-political environment—from Wilhelminian imperialism to Weimar republicanism, from Nazi dictatorship to the Rooseveltian New Deal, from McCarthy paranoia to European reconstruction—constitutes a distinctive dimension of his legacy. By the time Mann was living in the United States, journalists seeking an interview often had to specify whether their interest was literary or political. In one of his letters, written on the eve of the Second World War, Mann defended his indefatigable public crusade against Nazi tyranny by quoting Goethe, “What now counts is how much one weighs on the scale of humanity; everything else is insignificant.”1