scholarly journals Nos limites do conhecimento, nos limites da forma: uma leitura de sonetos de Rilke e Hermann Broch

2021 ◽  
Vol 35 (103) ◽  
pp. 113-140
Author(s):  
Juliana P. Perez ◽  
Daniel R. Bonomo ◽  
Danilo C. Serpa
Keyword(s):  
Rainer Maria Rilke ◽  
Hermann Broch

RESUMO Diversos escritores de língua alemã refletiram em seus textos sobre questões epistemológicas e compreenderam a literatura como uma forma específica de conhecimento, em condições de avançar sobre domínios às vezes inacessíveis, às vezes complementares à investigação científica. No início do século XX, Rainer Maria Rilke e Hermann Broch utilizaram-se - entre outros meios - da forma do soneto para realizar tal reflexão. Em Rilke, tal interesse está posto tanto em sonetos dos Novos poemas quanto nos Sonetos a Orfeu; em Broch, numa fase inicial e menos conhecida de sua obra, que prepara a ampla reflexão epistemológica que se realizará em seus romances.

A Rhetorics of the Word

2019 ◽  
Author(s):  
George Pattison
Keyword(s):  
Political Discourse ◽  
Philosophical Tradition ◽  
Final Part ◽  
Communications Technology ◽  
Christian Life ◽  
Call And Response ◽  
Hermann Broch ◽  
The Subject ◽  
The Impact

A Rhetorics of the Word is the second volume of a three-part philosophy of Christian life. It approaches Christian life as expressive of a divine calling or vocation. The word Church (ekklesia) and the role of naming in baptism indicate the fundamental place of calling in Christian life. However, ideas of vocation are difficult to access in a world shaped by the experience of disenchantment. The difficulties of articulating vocation are explored with reference to Weber, Heidegger, and Kierkegaard. These are further connected to a general crisis of language, manifesting in the degradation of political discourse (Arendt) and the impact of new communications technology on human discourse. This impact can be seen as reinforcing an occlusion of language in favour of rationality already evidenced in the philosophical tradition and technocratic management. New possibilities for thinking vocation are pursued through the biblical prophets (with emphasis on Buber’s and Rosenzweig’s reinterpretation of the call of Moses), Saint John, and Russian philosophies of language (Florensky to Bakhtin). Vocation emerges as bound up with the possibility of being name-bearers, enabling a mutuality of call and response. This is then evidenced further in ethics and poetics, where Levinas and Hermann Broch (The Death of Virgil) become major points of reference. In conclusion, the themes of calling and the name are seen to shape the possibility of love—the subject of the final part of the philosophy of Christian life: A Metaphysics of Love.

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

Hermann Broch

1979 ◽  
Vol 53 (3) ◽  
pp. 507 ◽  
Author(s):  
M. Bachem ◽  
Ernestine Schlant
Keyword(s):  
Hermann Broch

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.

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