Relevant bibliographies by topics / Aufzeichnungen des Malte Laurids Brigge

Academic literature on the topic 'Aufzeichnungen des Malte Laurids Brigge'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Aufzeichnungen des Malte Laurids Brigge"

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Doswald, Herman K., and William Small. "Rilke-Kommentar zu den "Aufzeichnungen des Malte Laurids Brigge"." German Studies Review 10, no. 1 (February 1987): 178. http://dx.doi.org/10.2307/1430475.

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Martins, Renata. "Die Aufzeichnungen des Malte Laurids Brigge: novas perspectivas de interpretação." Pandaemonium Germanicum 15, no. 20 (December 2012): 51–77. http://dx.doi.org/10.1590/s1982-88372012000200005.

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Penke, Niels. "Der Wiedergänger. Jens Baggesens Nachleben in der deutschen Literatur." European Journal of Scandinavian Studies 44, no. 2 (December 1, 2014): 286–98. http://dx.doi.org/10.1515/ejss-2014-0017.

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Abstract This article traces the marks Jens Baggesen has left in German literature and its history. It depicts Baggesen’s relations and strong bounds to his contempories around 1800, the feud with the Romantic poet Achim von Arnim and the gradual shift into oblivion in the progress of the 19th century, and at last the enigmatic glimpse that is given in R.M. Rilkes Die Aufzeichnungen des Malte Laurids Brigge. Moreover it asks for reasons why Baggesen fell through the cracks of literary history, which can be explained through the rising nationalism and the according formation of strict national philologies, to which the bilingual Baggesen emerged as a figure of neither-nor.
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Britten, Robert. "“Blick und Gebärde”: Embodied Perception in Die Aufzeichnungen des Malte Laurids Brigge." Monatshefte 114, no. 1 (March 10, 2022): 66–84. http://dx.doi.org/10.3368/m.114.1.66.

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Gellen, Kata. "The Ethics of Imagination in Rainer Maria Rilke’s Die Aufzeichnungen des Malte Laurids Brigge." German Studies Review 43, no. 3 (2020): 455–74. http://dx.doi.org/10.1353/gsr.2020.0077.

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Jany, Christian. "»Das Anschauen ist eine so wunderbare Sache, von der wir noch so wenig wissen« – Szenographien des Schauens beim mittleren Rilke." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, no. 1 (2014): 141–60. http://dx.doi.org/10.28937/1000106236.

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Die Schrift behandelt die Ästhetik des Schauens beim mittleren Rilke. Dazu werden Darstellungen von Szenen visueller Wahrnehmung aus jener Periode genauer untersucht. Nach der Sichtung von einschlägiger Sekundärliteratur und einigen Begriffserklärungen dienen vor allem ein gewisser Brief, Die Aufzeichnungen des Malte Laurids Brigge und Archaïscher Torso Apollos als repräsentative Untersuchungsgegenstände. Aus ihnen ergibt sich die Grundthese: Das Schauen vollzieht sich als ein wechselseitiger Austausch von »Eindrücken«, zugleich als merkwürdig ortloses Zusammenspiel von Blicken, das die Szene destabilisiert. Der Hauptteil entfaltet diese These zunächst durch die Betrachtung der Funktion der Angst innerhalb dieser Prozedur, wodurch sich eine typische Hierarchie der Rilkeschen Schau-Szenen angeben lässt. Danach ruht der Blick auf der Nachträglichkeit des Schauens in Archaïscher Torso, wodurch sich die Temporalität jener Szenen bestimmen lässt. Tatsächlich aktivieren all diese Aspekte Grundprobleme der Ästhetik sowie der Wahrnehmungsphilosophie. Aufgrund der Anlage der Schrift können diese theoretischen Probleme allerdings nur indirekt und auf exemplarische Weise angegangen werden.<br><br>This essay discusses the aesthetics of looking in Rilke’s middle period. To that end, it inquires into scenes of visual perception as represented by texts from that period. After a review of pertinent critical positions and a few terminological clarifications, a certain letter, Die Aufzeichnungen des Malte Laurids Brigge, and Archaïscher Torso Apollos serve above all as representative objects of inquiry. The general hypothesis is that looking proceeds here according to a reciprocal exchange of »imprints,« at the same time as a strangely displaced interplay of looks that destabilizes the scene. The main part unfolds this hypothesis by first considering the function of anxiety in this procedure, thus detailing the typical hierarchy of a Rilkean scene of looking. Subsequently, the focus lies on the Nachträglichkeit of looking in Archaïscher Torso, thus describing more closely the temporality of these scenes. All these aspects in fact invoke basic problems of both aesthetic theory and the philosophy of perception. Due to its design, however, the essay can address these theoretical problems only in an indirect and exemplary fashion.
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Mun-Yeong, Ahn. "Der poetische Wandel der Hand-Metaphorik bei Rilke – auf dem Weg von der Augensprache zur Herzenssprache*." Jahrbuch für Internationale Germanistik 50, no. 1 (January 1, 2018): 11–24. http://dx.doi.org/10.3726/ja501_11.

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Abstract In seinem Roman Aufzeichnungen des Malte Laurids Brigge (1910) sagt Rilke: ,,Verse sind nicht, wie die Leute meinen, Gefühle (die hat man früh genug), – es sind Erfahrungen.“1 Man sollte ,,ein ganzes Leben lang“ warten, um ,,zehn Zeilen“, ,,die gut sind“, schreiben zu können.2 August Stahl, der die gesamten lyrischen Texte Rilkes chronologisch geordnet und Anmerkungen dazu geschrieben hat, nummerierte diese Texte mit der Zahl 2119.3 In dieser eindrucksvollen Zahl sind dabei nicht enthalten die Gedichte, die Rilke in Italienisch, Russisch und vor allem in Französisch zu schreiben versuchte, und die Texte, die Rilke aus den italienischen Gedichten von Michel Angelo und den französischen Gedichten von Valery ins Deutsche übertrug. Es wäre wohl müßig zu fragen, ob Rilke selbst die zehn Zeilen, die nach seinem Maßstab ,,gut“ sein sollen, aus seinem Lebenswerk auswählen könnte.
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Arndal, Steffen. "„Ohne alle Kenntnis von Perspektive“? Zur Raumperzeption in Rainer Maria Rilkes Aufzeichnungen des Malte Laurids Brigge." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 76, no. 1 (March 2002): 105–37. http://dx.doi.org/10.1007/bf03375842.

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Conquer, Rey. "Making Sense: Hands, Faces & Creation in Rilke’s Auguste Rodin and Die Aufzeichnungen des Malte Laurids Brigge." Oxford German Studies 48, no. 2 (April 3, 2019): 240–60. http://dx.doi.org/10.1080/00787191.2019.1611943.

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Minden, Michael. "MODERNISM'S STRUGGLE FOR THE SOUL: RAINER MARIA RILKE'S DIE AUFZEICHNUNGEN DES MALTE LAURIDS BRIGGE AND INGEBORG BACHMANN'S MALINA." German Life and Letters 67, no. 3 (June 9, 2014): 320–40. http://dx.doi.org/10.1111/glal.12045.

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Dissertations / Theses on the topic "Aufzeichnungen des Malte Laurids Brigge"

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Martins, Renata de Freitas. "A experiência do estranho no romance Die Aufzeichnungen des Malte Laurids Brigge, de Rainer Maria Rilke." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-03122012-123751/.

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Inserida nos estudos da Germanística Interdisciplinar no Brasil, a presente dissertação, A experiência do estranho no romance Die Aufzeichnungen des Malte Laurids Brigge, de Rainer Maria Rilke, tem como objetivo analisar na mencionada obra literária, considerada o primeiro romance moderno em língua alemã do século XX, o conceito do estranho. Os diversos elementos ficcionais que compõem cada um de seus setenta e um fragmentos permitem ao protagonista-narrador, Malte Laurids Brigge, ter acesso à abrangente configuração da semântica do estranho que se apresenta aqui por meio de três vertentes: a experiência de vida em uma metrópole estrangeira com a qual ele não se identifica, mas que, dialeticamente, lhe serve como uma ponte para a descoberta de seu mundo interior; a revelação de recordações de sua infância, até então não manifestadas, e regidas por acontecimentos particulares que reconstituem a busca precoce por sua identidade; e a afirmação de seu Eu através de leituras de narrativas alheias que projetam camufladamente sua identidade. Com esse conjunto semântico multifacetário, Rilke logra articular com a experiência do estranho diversas possibilidades e tentativas de Malte Laurids Brigge em buscar e redefinir sua identidade.
Inscribed within Interdisciplinary Germanic Studies in Brazil, the objective of this thesis, The Foreigners/Stranger´s Experience in Rainer Maria Rilkes Die Aufzeichnungen des Malte Laurids Brigge, is to analyze the concept of the foreigner/stranger in said text, considered to be the German languages first 20th Century modern novel. The diverse fictional elements comprising each one of the seventy one fragments of the work grant the central character/narrator access to the configuration of the semantics of the foreigner, presented in three strains: the experience of living in a foreign metropolis with which he does not identify yet serves him as a bridge to discovering an inner world in dialectic terms; the revelation of memories not manifested during his childhood and governed by particular occurrences that reconstruct his search for identity; and the projection of his ego through readings of narratives by others. With this group of elements and by way of the foreigners experience, Rilke manages to articulate the most diverse possibilities of Malte Laurids Grigges search for identity.
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Stuber, Regina. "Die Ästhetik in Rilkes "Aufzeichnungen des Malte Laurids Brigge" und ihre Wirkung auf Pasternaks "Doktor Jivago"." Nancy 2, 1994. http://www.theses.fr/1994NAN21025.

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Witzleben, Brigitte von. "Untersuchungen zu Rainer Maria Rilkes "Aufzeichnungen des Malte Laurids Brigge" Studien zu den Quellen und zur Textüberlieferung /." Vaasa : Universität Vaasa, Institut für Deutsche Sprache und Literatur, 1996. http://catalog.hathitrust.org/api/volumes/oclc/35919808.html.

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NAKAMURA, Yasuko. "Die Sehnsucht nach dem nie gewesenen Leben : Die Aufzeichnungen von Anatol Ludwig Stiller und Malte Laurids Brigge." School of Letters, Nagoya University, 2006. http://hdl.handle.net/2237/8452.

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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 monde
Rilke'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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Jongy, Béatrice. "L'écriture de soi au tournant du siècle : une quête ontologique, chez Rilke (les carnets de Malte Laurids Brigge), Kafka (Le journal) et Pessoa (le livre de l'intranquillité)." Paris 3, 2004. http://www.theses.fr/2004PA030071.

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Les trois diaristes vivent au tournant du XXe siècle, dans un monde en pleine mutation. La crise des valeurs religieuses, du langage et de l'identité, l'anonymat de la grande ville engendrent un profond malaise. L'écriture, dans ces journaux, est celle d'une perte et d'une quête de soi visant à réparer la scission ontologique. Les diaristes cherchent, jour après jour, à se mettre au monde, dans une écriture hantée par la solitude existentielle et la pensée de la mort. Aussi le journal devient-il le théâtre de leur autogenèse. Mais la fictionnalisation de soi conduit le sujet à une multiplication destructrice, une traversée des limbes où la mélancolie côtoie la mort et la folie. La quête ontologique est déviée vers la fondation d'une nouvelle forme de lyrisme, que caractérisent la mort du sujet et un bouleversement de la conception de l'œuvre et de la littérature. Le sujet s'anéantit dans une œuvre-vie. C'est l'écriture de la modernité, voire de la postmodernité, qui émerge ici
The three diarists live at the beginning of the twentieth century, in a changing world. The crisis of religious values, language and identity, the anonymity of the big city generate a profound uneasiness. In these diaries, the writing is one of a loss and of a search of oneself which aims at mending the ontological scission. Day after day, the diarists try to bring themselves to the world, through a writing which is haunted by existential solitude and the thought of death. The diary becomes the scene of their self-genesis. But the self-fictionalisation leads the subject to a destructive multiplicity, a journey through limbo where melancholy is always close to death and insanity. The ontological quest becomes the foundation of a new form of lyricism which is characterized by the subject's disappearance, and by a complete change in the conception of literature. The subject vanishes completely in his work and turns his life into a work of art. Here emerges the writing of modernity, and even of postmodernity
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Nurmi-Schomers, Susan. "Visionen dichterischen "Mündigwerdens" : poetologische Perspektiven auf Robert Musil, Rainer Maria Rilke und Walter Benjamin /." Tübingen : Niemeyer, 2008. http://d-nb.info/991497120/04.

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Macleod, N. J. "Fictions of authenticity : Dostoevsky's Notes from Underground, Rilke's Notebooks of Malte Laurids Brigge, and Sartre's Nausea." Thesis, University of East Anglia, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233571.

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Paradis, Swann. "Revenir dans l'espace Eurydicial, Les cahiers de Malte Laurids Brigge comme centre d'irradiation du mythe d'Orphée dans la poésie de Rainer Maria Rilke." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65386.pdf.

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Wahlberg, Andreas. "Klaus Kinski : Erster Liebhaber und Lebenskünstler." Thesis, Stockholms universitet, Avdelningen för tyska, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104065.

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This study examines the relationship between sexuality and actorial artistic creation in the autobiographic writings of the German actor Klaus Kinski (1926-1991). Departing from Socrates’ appraisal of Eros in the Platonic dialogue Symposion, the text confronts two classic theories on sexuality and art: Christoph Wilhelm Hufeland’s book on macrobiotics and vital power (Lebenskraft), The Art of Prolonging Human Life, and Sigmund Freud’s texts on sublimation. Plato, Hufeland and Freud have in common that they see art and sexuality, representing spiritual and carnal life, as rivals. Hence, artistic production has to rely on a renunciation of physical love, either through abstinence or transformation of sexual energy into spiritual creative power. The case of Klaus Kinski is particularly important, since his literary works seems to resist sublimation of any kind. While devoting himself to libertinage – which he renders in detail – he still succeeds in creating works of art, as an actor and as a writer. The artistic conditions for Kinski the actor, being an active force in control of theatrical objects and means, in contrast to the passive-receptive actor in Rainer Maria Rilke’s The Notebooks on Malte Laurids Brigge, further adds to this particularity. Kinski’s refusal to recognise a rivalry between love and art has its roots in Constantin Stanislavski’s method of acting, in which the task of the actor is to give life to the role by giving it both spiritual and bodily life, having body and mind working together towards the higher aim of theatrical performance. Yet this paradigm of incarnation, as opposed to inspiration, does not apply exclusively to theatrical and performing arts, where the work of art is constituted by the actor’s body. In a text from 1927 about the rhyme, the Austrian writer Karl Kraus proposes an „erotics of language”, in which the ideal Paarung (coupling or mating) implies both the physical act of reproduction, and sonorous combination of two rhyming words, uniting distant spheres or entities. In this sense, Kinski’s ideal coupling can be understood as a joint venture between mind and body, art and sexuality, theatre and life, enabling him to enjoy a frivolous love life without abandoning artistic creation.
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Books on the topic "Aufzeichnungen des Malte Laurids Brigge"

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Rilke, Rainer Maria. Die Aufzeichnungen des Malte Laurids Brigge. Frankfurt am Main: Suhrkamp, 1996.

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1875-1926, Rilke Rainer Maria, and Vidali Valerio 1983 illustrator, eds. Die Aufzeichnungen des Malte Laurids Brigge. Recanati, Italien: ELI, S.r.L., 2014.

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Naumann, Helmut. Gesammelte Malte-Studien: Zu Rilkes "Aufzeichnungen des Malte Laurids Brigge". Rheinfelden: Schäuble, 1993.

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Rilke, Rainer Maria. Die Aufzeichnungen des Malte Laurids Brigge ; Prosa 1906 bis 1926. Frankfurt am Main: Insel, 1987.

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Giloy, Birgit. Die Aporie des Dichters: Rainer Maria Rilkes "Aufzeichnungen des Malte Laurids Brigge". München: Ars una, 1992.

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Suche nach Zusammenhang: Rainer Maria Rilkes "Die Aufzeichnungen des Malte Laurids Brigge". Frankfurt am Main: P. Lang, 1994.

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Kruse, Bernhard-Arnold. Auf dem extremen Pol der Subjektivität: Zu Rilkes "Aufzeichnungen des Malte Laurids Brigge". Wiesbaden: Deutscher Universitäts Verlag, 1994.

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Naumann, Helmut. Neue Malte-Studien: Untersuchungen zu Aufbau und Aussagegehalt der Aufzeichnungen des Malte Laurids Brigge von Rainer Maria Rilke. Rheinfelden: Schäuble, 1989.

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Rilke, Rainer Maria. Die Aufzeichnungen des Malte Laurids Brigge: Das Manuskript des "Berner Taschenbuchs" : Faksimile und textgenetische Edition. Göttingen: Wallstein, 2012.

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Visualität in Rainer Maria Rilkes Die Aufzeichnungen des Malte Laurids Brigge: Eine Untersuchung zum psychoanalytischen Symbolbegriff. Frankfurt am Main: P. Lang, 2002.

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Book chapters on the topic "Aufzeichnungen des Malte Laurids Brigge"

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Lauterbach, Dorothea. "Rilke, Rainer Maria: Die Aufzeichnungen des Malte Laurids Brigge." In Kindlers Literatur Lexikon (KLL), 1–4. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_19029-1.

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Wagner-Egelhaaf, Martina. "Ekstatisches Schreiben: Rainer Maria Rilke, “Die Aufzeichnungen Des Malte Laurids Brigge” (1910)." In Mystik der Moderne, 62–107. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03282-9_4.

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van Laak, Lothar. "Rauschen, Klang und Stille. Zur Musikalität von Literatur am Beispiel von Rilkes Aufzeichnungen des Malte Laurids Brigge." In Rilkes Musikalität, 103–12. Göttingen: V&R unipress, 2019. http://dx.doi.org/10.14220/9783737010320.103.

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Petersen, Jürgen H. "Der Leser als Souverän: Rainer Maria Rilkes »Die Aufzeichnungen des Malte Laurids Brigge« und Carl Einsteins »Bebuquin oder die Dilettanten des Wunders«." In Der deutsche Roman der Moderne, 68–98. Stuttgart: J.B. Metzler, 1991. http://dx.doi.org/10.1007/978-3-476-03380-2_4.

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Reynolds, Nicholas Carroll. "Transformation: Malte Laurids Brigge, Second Part." In Sense and Creative Labor in Rainer Maria Rilke's Prose Works, 179–212. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74470-0_6.

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Molder, Maria Filomena. "Le fond doré. À propos des Cahiers de Malte Laurids Brigge." In Aesthetics and Philosophy of Art, 353–62. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5069-5_18.

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Reynolds, Nicholas Carroll. "Learning to See: The Notebooks of Malte Laurids Brigge, First Part." In Sense and Creative Labor in Rainer Maria Rilke's Prose Works, 149–77. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74470-0_5.

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Boos, Sonja. "Allegory, Modernity, Learning to See: Cytoarchitectonics in Rainer Maria Rilke’s The Notebooks of Malte Laurids Brigge." In The Emergence of Neuroscience and the German Novel, 157–82. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82816-5_7.

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Louth, Charlie. "Die Aufzeichnungen des Malte Laurids Brigge." In Rilke, 167–210. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198813231.003.0005.

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Baudelaire forms the link onto this chapter on Rilke’s ‘prose-book’, where his experience of Paris is given fullest expression and where the French literary tradition is everywhere present. Malte is read as in dialogue with decadence, especially with Huysmans’ À rebours. It is understood as a ‘poet’s novel’ in the sense that its techniques, preoccupations, and structures are not those of the novel as they are commonly understood, and make more sense when approached as a kind of prose poetry with connections to Baudelaire’s. There is also an extended comparison with Hamlet, as a way of elucidating the novel as a work of crisis, with its hero poised between ruin and revelation.
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"Unvoreingenommenes Warten: Rilkes Die Aufzeichnungen des Malte Laurids Brigge." In Waiting Plots, 209–80. Wilhelm Fink Verlag, 2018. http://dx.doi.org/10.30965/9783770562527_006.

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Conference papers on the topic "Aufzeichnungen des Malte Laurids Brigge"

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SHERSTNEVA, Ekaterina S. "Rhythm of Artistic Prose as an Element of Stylistic Originality of the Work (Based on the Original and Translations of the Novel by R. M. Rilke "Notes of Malte Laurids Brigge")." In III International theoretical and practical conference “The Crossroads of the North and the East (methodologies and practices of regional development)”. SibAC, 2020. http://dx.doi.org/10.32743/nesu.cross.2020.201-206.

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