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POETICA ◽  
2021 ◽  
Vol 52 (3-4) ◽  
pp. 334-360
Author(s):  
Irmtraud Huber

Abstract The lyric is often associated with an attempt to escape from time into stasis or eternity and is juxtaposed as atemporal to the temporal dynamics of (narrative or dramatic) plot. Resisting such common attributions, this paper develops an analytical framework that highlights the complexity and variety of temporal structures to be found in poetry. Understood as a contribution to the growing field of lyricology, the suggested framework aims to be widely applicable to poetry in general, but is here introduced and exemplified with reference to poems by Rainer Maria Rilke.


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

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.


Rapsódia ◽  
2021 ◽  
pp. 180-198
Author(s):  
Nina Auras
Keyword(s):  

Traçando um paralelo entre uma certa concepção de arte presente na obra de Rainer Maria Rilke e aquela apresentada por Hegel em seus Cursos de estética (1820-29), o artigo pretende analisar o modo como o problema da ironia parece se colocar para Rilke e os desdobramentos dessa forma na produção poética do século XX.


2021 ◽  
pp. 196-223
Author(s):  
Alexander Medvedev

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.


2021 ◽  
pp. 552-565
Author(s):  
Rüdiger Görner

The prophet and the prophetic feature prominently in Rainer Maria Rilke’s Neue Gedichte (1907) and in Stefan Zweig’s one and only pacifist drama Jeremias (1917). This chapter examines the poetic and rhetorical significance of their renderings of the Jeremiah myth through in-depth textual and structural analysis. It shows the critical attitude towards the prophetic as expressed in Rilke’s poem “Jeremia” challenging the divine voice, which had turned the prophet into its mere mouthpiece. Furthermore, it discusses the interrelation between Rilke’s poem and Zweig’s drama in thematic terms, as well as the influence of Nietzsche’s Zarathustra on both.


SlavVaria ◽  
2021 ◽  
Vol 1 (1) ◽  
Author(s):  
ИШТВАН НАДЬ

Poetry itself is translation from the mother tongue into another language… Cvetaeva’s letter to Rilke about the translation of poetry is Cvetaeva’s credo of translation. Cvetaeva constantly reflects on her own linguistic consciousness. The first extensive set of commentaries on translation appears in the poet’s correspondence with Rainer Maria Rilke. Cvetaeva developed the methaphor of “writing poetry as translating” inspired by wordplay in German: „Dichten ist schon nachdichten”. Translation is possible, because poetry is possible. Cvetaeva advocates an artistic, hermeneutically open approach to translation. Cvetaeva wrote in a letter to Rainer Maria Rilke: „Dichten ist schon übertragen, aus der Muttersprache – in eine andere, ob französisch oder deutsch wird wohl gleich sein.” Writing poetry is in itself translating, from the mother tongue into another language.


2021 ◽  
Vol 32 (2) ◽  
pp. 73-99
Author(s):  
Herwig Weber ◽  

One of the greater influences on Xavier Villaurrutia’s poetry was the philosophical work of Martin Heidegger. Also, among the Mexican poet’s favorite readings was The notes of Malte Laurids Brigge, a novel by Rainer Maria Rilke, which is conceptually connected with Georg Wilhelm Friedrich Hegel’s dialectical philosophy and Friedrich Schiller’s humanism. The present work is an interpretation of Nostalgia de la muerte by Villaurrutia based on the concepts of “turn towards the open” (Heidegger), “personal death” (Rilke), “subject as the absolute and as nothingness” (Hegel) and “aesthetic education of the human” (Schiller).


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