Manfred Engel/Dieter Lamping (Hgg.), Rilke und die Weltliteratur. — Rainer Maria Rilke, Lyrik und Prosa.

Arbitrium ◽  
2001 ◽  
Vol 19 (1) ◽  
Author(s):  
Ritchie Robertson
Keyword(s):  
Rainer Maria Rilke

Vladimir Jankélévitch (Zitate) und Rainer Maria Rilke (Gedicht)

2019 ◽  
pp. 43-44
Author(s):  
Vladimir Jankélévitch ◽  
Rainer Maria Rilke
Keyword(s):  
Rainer Maria Rilke

scholarly journals Rainer Maria Rilke: Ewald Tragy

1946 ◽  
Vol 41 (1) ◽  
pp. 87
Author(s):  
B. J. Morse ◽  
Richard von Mises
Keyword(s):  
Rainer Maria Rilke

Modernistskiy ekfrasis v esse Mariny Tsvetayevoy „Natal'ya Goncharova. Zhizn' i tvorchestvo”

2021 ◽  
pp. 196-223
Author(s):  
Alexander Medvedev
Keyword(s):  
Martin Heidegger ◽  
20Th Century ◽  
Rainer Maria Rilke ◽  
Russian Philosophy ◽  
Avant Garde ◽  
European Context ◽  
Paul Gauguin ◽  
Ontological Turn ◽  
Friedrich Hölderlin ◽  
Stylistic Diversity

This article examines Marina Tsvetaeva’s modernist perception of the personality and paintings of the greatest representative of the Russian avant-garde of the 20th century in the essay “Natalia Goncharova. Life and Work” (“Наталья Гончарова. Жизнь и творчество”, 1929). Goncharova’s paintings that Tsvetaeva describes in her essay are indicated. The principles of modernist poetics and ekphrasis are revealed (lyrical subjectivism, ontology, consonance, anagrammatic disclosure of the inner form of a word, mythologization, reader co-creation, dialogism). The similarity between Tsvetaeva’s understanding of painting and poetry is compared to the ontological understanding of art by Martin Heidegger. This can be explained by the tradition of ontological poetry (Friedrich Hölderlin and Rainer Maria Rilke), which is important for both. The ontology of Goncharova’s painting is also considered in the context of the ontology of animals in Russian philosophy at the beginning of the 20th century (Vasily Rozanov) and in the Tahitian Painting of Paul Gauguin. Special attention is paid to ekphrastic poetics (style, tropes, consonance), with the help of which Tsvetaeva authentically transfers the ontologism of Goncharov’s painting in its stylistic diversity (cubism, neo-primitivism, rayonism) to the verbal level. Tsvetaeva and Goncharova in the respective Russian and European context (Gauguin, Rozanov, Heidegger, Rilke) appear as exponents of the ontological turn in the culture of the first half of the 20th century.

Lou Andreas-Salomé – Rebellin oder Femme fatale?

2018 ◽  
Vol 30 (2) ◽  
pp. 119-128
Author(s):  
Christine Pop
Keyword(s):  
Friedrich Nietzsche ◽  
Rainer Maria Rilke ◽  
Femme Fatale

Der Film hat die Biographie von Lou Andreas-Salomé, Psychoanalytikerin und Philosophin, wie sie in deren Memoiren mit Hilfe des Germanisten Ernst Pfeiffer verschriftet wurden, zum Inhalt. Cordula Kablitz-Post inszeniert dieses Biopic aus der Perspektive der 72-jährigen Lou Andreas-Salomé im Jahr 1933. Schwerpunkt ist hierbei die persönliche Entwicklung von Andreas-Salomé und deren Beziehungen zu und Einfluß auf (v.a.) Friedrich Nietzsche, Paul Rée, Carl Andreas, Rainer Maria Rilke und Ernst Pfeiffer. Die Filminterpretation zentriert auf die Emanzipationsbemühungen Lou Andreas-Salomés angesichts der Einschränkungen der intellektuellen Entwicklung von Frauen und deren Schwierigkeiten, als selbstbestimmte und eigenständige Individuen in der damaligen bürgerlichen, patriarchalen Gesellschaftsstruktur ihr Leben zu gestalten.

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