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Journal articles 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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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Slavtscheva, Maria. "Die Bedeutung des Gelesenen: Eine komparatistische Studie über Rainer Maria Rilke und Marcel Proust." arcadia 54, no. 2 (November 7, 2019): 196–211. http://dx.doi.org/10.1515/arcadia-2019-0022.

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Abstract The article discusses the hierarchical model of readers’ types outlined by Marcel Proust in his essay “Journées de lecture” and reconstructs Rainer Maria Rilke’s poetics of reading in accordance with the poems “Der Lesende” and “Der Leser” as well as the thematic relevant parts of the novel Die Aufzeichnungen des Malte Laurids Brigge. Based on the conclusions made thereby, it draws attention to the possibilities arising from a comparative reading of the description of the scene in which the young Marcel reads in the garden of Combray from Proust’s Du côté de chez Swann, and Rilke’s poem “Hebend die Blicke vom Buch”. Moreover, it is shown that in this short but complex poem, the German poet fulfills the ideal of a unity of reading and writing emphasized by the French author. Combining the motive of looking away from the book typical of his prose and poetry with Proust’s typical motive of the memory of a certain read, Rilke brings into being a poetic picture of reading, which triggers both the memory and the reflection, and an image of a reader that reveals his own productive reception.
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12

Song, Hi-Young. "Die neue Interpretation des Motives ‘des verlorenen Sohnes’ - Die Legende des verlorenen Sohnes von Rilkes Die Aufzeichnungen des Malte Laurids Brigge." Koreanische Zeitschrift fuer Deutschunterricht 85 (December 31, 2022): 139–58. http://dx.doi.org/10.20456/kzfd.2022.12.85.139.

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13

Haubenreich, J. "Text-corporeality and the Double Rend of the Page: The Specter of the Manuscript in Rilke's Die Aufzeichnungen des Malte Laurids Brigge." Monatshefte 105, no. 4 (December 1, 2013): 565–92. http://dx.doi.org/10.1353/mon.2013.0122.

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14

Braden, Dennis. "Rilke's the Notebooks of Malte Laurids Brigge." Explicator 45, no. 2 (January 1987): 43–45. http://dx.doi.org/10.1080/00144940.1987.9938650.

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15

Haag, Ingrid. "La passion parisienne de Malte Laurids Brigge." Cahiers d’études germaniques 41, no. 2 (2001): 159–68. http://dx.doi.org/10.3406/cetge.2001.1568.

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16

Schings, Hans-Jüugen. "Die Fragen des Malte Laurids Brigge und Georg Simmel." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 76, no. 4 (December 2002): 643–71. http://dx.doi.org/10.1007/bf03375803.

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17

Krings, Marcel. "Ästhetische Inkarnation Zur formalen Struktur von Rilkes Malte Laurids Brigge." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 77, no. 4 (December 2003): 619–36. http://dx.doi.org/10.1007/bf03375714.

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18

Гнездилова, Елена Валерьевна. "EKPHRASTIC DISCOURSE IN R. M. RILKE “THE NOTEBOOKS OF MALTE LAURIDS BRIGGE”." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 2(111) (July 7, 2021): 38–45. http://dx.doi.org/10.37972/chgpu.2021.111.2.005.

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В статье рассматривается экфрастический дискурс в романе Р. М. Рильке «Записки Мальте Лауридса Бригге» (1910), который является единственным прозаическим произведением австрийского поэта.При создании собственного художественного мира поэт активно обращается к предшествующей культуре: это и библейская философская, и поэтическая традиция, средневековые мотивы и образы, философские идеи немецких и датских философов, французская литературная и изобразительная традиция, русская духовная культура и поэзия. Особое место в формировании поэтического мира Р. М. Рильке занимают произведения изобразительного и декоративно-прикладного искусства. Экфрастический дискурс является основой для философских и поэтических размышлений, отправной точкой в исследовании проблемы творчества.Анализируя роман «Записки Мальте Лауридса Бригге», автор статьи обращается к особенностям концепции «вещи» в художественном универсуме поэта и прослеживает взаимосвязь и влияние изобразительного искусства на формирование концепции «вещи», а также выявляет функцию экфрастического дискурса в поэтике романа. Экфрастический дискурс, обращение к произведениям изобразительного и декоративно-прикладного искусства, в романе основан на аллюзиях и реминисценциях, он служит воплощению главной темы произведения, связанной с внутренними поисками главного героя. Произведения искусства, таким образом, являются в романе важнейшими смыслообразующими элементами. Кроме того, обращаясь к реально существующим произведениям искусства прошлых столетий, автор романа придает внутренним поискам героя вневременной, универсальный характер. The article examines the ekphrastic discourse in the novel by R. M. Rilke «The Notebooks of Malte Laurids Brigge» (1910), which is the only prose work of the Austrian poet. When creating his own artistic world, the poet actively turns to the previous culture: this is the biblical philosophical and poetic tradition, medieval motives and images, and the philosophical ideas of the German and Danish philosophers, French literary and visual tradition, Russian spiritual culture and poetry. A special place in the formation of the poetic world of R.M. Rilke is occupied with the works of fine and decorative arts. Ekphrastic discourse is the basis for philosophical and poetic reflections, the starting point in the study of the problem of creativity. Analyzing the novel «The Notebooks of Malte Laurids Brigge», the author of the article refers to the peculiarities of the concept of «thing» in the artistic universe of the poet and traces the relationship and influence of fine art on the formation of the concept of «thing», and also reveals the function of ekphrastic discourse in the poetics of the novel. Ekphrastic discourse, an appeal to works of fine and decorative-applied art in the novel fulfill the roles of both allusions and reminiscences, and serves as the embodiment of the main theme of the work, connected with the inner searches of the protagonist. Thus, works of art are the most important sense-forming elements in the novel. In addition, referring to real-life works of art of the past centuries, the author of the novel gives the hero’s inner search a timeless, universal character.
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19

Tobias, Rochelle. "Rilke's Landscape of the Heart: On The Notebooks of Malte Laurids Brigge." Modernism/modernity 20, no. 4 (2013): 667–84. http://dx.doi.org/10.1353/mod.2013.0102.

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20

Macleod, Jock. "Writing as Paradox in Rilke's Notebooks of Malte Laurids Brigge." MFS Modern Fiction Studies 38, no. 2 (1992): 403–25. http://dx.doi.org/10.1353/mfs.0.1061.

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21

Weber, Herwig. "Nostalgia de la muerte de Xavier Villaurrutia dentro de la tradición filosófica en lengua alemana: Heidegger, Rilke, Hegel, Schiller." Literatura Mexicana 32, no. 2 (August 31, 2021): 73–99. http://dx.doi.org/10.19130/iifl.litmex.2021.32.2.29153.

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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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22

Sherstneva, E. S. "TRANSLATORS’ STRATEGIES: FROM DOMESTICATION TO FOREIGNIZATION." Juvenis scientia, no. 10 (2018): 57–60. http://dx.doi.org/10.32415/jscientia.2018.10.12.

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Translator’s role as a mediator of intercultural communication is viewed in the article in connection with strategies he employs in the process of translation. The author studies approach of Russian and foreign theorists of translation to the opposition of covert and overt translation. The analysis of strategies of translators who worked on the English translation of R. M. Rilke’s novel “The Notebooks of Malte Laurids Brigge” is performed. As a result, it is concluded that translators’ pendulum movement gradually goes form translation which is at some distance from the original and is aimed at the culture and language of the translation to the translation which moves to ultimate reconstruction of structural and semantic parameters of the original.
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23

RUGG, LINDA HAVERTY. "Self at Large in the Hall of Mirrors: Rilke's Malte Laurids Brigge as Autobiographical Act." Seminar: A Journal of Germanic Studies 29, no. 1 (February 1993): 43–54. http://dx.doi.org/10.3138/sem.v29.1.43.

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24

Cavanna, Andrea Eugenio, Maria Grazia Pattumelli, Tiziana Quarto, Fizzah Ali, and Hugh Rickards. "The “imprisoned illness:” Motor tic disorder in Rainer Maria Rilke's Notebooks of Malte Laurids Brigge." Movement Disorders 25, no. 12 (July 28, 2010): 1980–82. http://dx.doi.org/10.1002/mds.23203.

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25

Lim, Wesley. "Bridging Gesture, Gesticulation, and Early Modern Dance: Rilke's Veitstänzer in The Notebooks of Malte Laurids Brigge." Dance Chronicle 39, no. 3 (September 2016): 279–98. http://dx.doi.org/10.1080/01472526.2016.1221755.

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26

Stables, Wayne. "“The Time of That Other Interpretation”: Gesture, Symptom, and Rilke’s The Notebooks of Malte Laurids Brigge." New German Critique 48, no. 3 (November 1, 2021): 165–98. http://dx.doi.org/10.1215/0094033x-9305533.

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27

Sushko, S. "INTERTEXTUAL PALLETTE IN WILLIAM HOWARD GASS’S “THE TUNNEL”: RAINER MARIA RILKE’S LITERARY PARALLELS IN THE NOVEL." Studia Philologica, no. 12 (2019): 120–26. http://dx.doi.org/10.28925/2311-2425.2019.12.18.

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The given article presents an overview and initial analysis of the manifold influences of R. M. Rilke’s poetry and prose on William H. Gass’s “The Tunnel”. The American writer and literary scholar W. H. Gass repeatedly acknowledged Rilke’s profound impact on his novel. Undertaking our research of the particular manifestations of Rilke’s “presence” in “The Tunnel”, we are naturally guided, and motivated, by a challenging task of specifying those fragments and chunks of the text as well as underlying ideas and concepts which were borrowed from Rilke, which could be traced back to his works. Our opening research into the problem specified has brought forth the following results. Intertextual links of “The Tunnel” are manifold, the Rilkean parallels being profound, versatile and fruitful. The core of Rilkean influence is formed by sharing much from the poetics of Rilke’s novel “The Notebooks of Malte Laurids Brigge” — an artist’s vision, forms of delineating things (Dinge), some plot lines and narratives, a device of inserted stories, auto fictionality, philosophically charged, reflexive prose writing, autobiographical narrative. Besides, “The Tunnel” features dozens of parallels with Rilke’s poetical works.
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28

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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29

Phelan, Anthony. "Rainer Maria Rilke: The Notebooks of Malte Laurids Brigge, translated by Robert Vilain; The Rilke of Ruth Speirs, edited by John Pilling and Peter Robinson." Translation and Literature 26, no. 1 (March 2017): 115–23. http://dx.doi.org/10.3366/tal.2017.0280.

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30

Di Noi, Barbara. "Jenseits des Sichtbaren Rilkes Aufzeichnungen des Malte Laurids Brigge." Annali di Ca’ Foscari. Serie occidentale, no. 55 (September 8, 2021). http://dx.doi.org/10.30687/annoc/2499-1562/2021/09/009.

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In Rilke’s novel Die Aufzeichnungen des Malte Laurids Brigge, the Parisian scene is conceived as a stage; the main character has been considered as the author’s alter ego or Doppelgänger, who is going to face the most alienating and fearful aspects of the modern metropole. Rilke’s project involves a new use of sight and perception in which the boundary between the inner and outer world is continuously crossed so that Malte – and the reader at the same time – starts to doubt the traditional categories of acknowledgement. Despite all negative aspects of this split scene of modernity, characterised by forgetfulness and alienation, Malte is very likely to eventually die, completely forgotten by his ghostly family – this loss of individuality and possession is also able to enhance a kind of negative capability, representing the condition to make a new start, e.g. a lyrical program expressing the paradox of Life, where life seems to be no longer possible. The formal fragmentation of Rilke’s novel and its lack of traditional unity reflect the split scene of the subject, thus foreshadowing the clash between sign and meaning, between angel and puppet, which will be put on stage in the crucial passage of the Fourth Elegy, where the I is depicted as a spectator in front of the curtain of his own heart.
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31

Martens, Lorna. "Autobiographical Narrative and the Use of Metaphor: Rilke's Techniques in Die Aufzeichnungen des Malte Laurids Brigge." Studies in 20th & 21st Century Literature 9, no. 2 (January 1, 1985). http://dx.doi.org/10.4148/2334-4415.1163.

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32

Cowan, Michael. "Imagining Modernity Through The Ear. Rilke's Die Aufzeichnungen des Malte Laurids Brigge and the Noise of Modern Life." Arcadia – International Journal for Literary Studies 41, no. 1 (January 1, 2006). http://dx.doi.org/10.1515/arca.2006.010.

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33

Arroyo Redondo, Susana. "¿Quién es Malte Laurids Brigge?" Signa: Revista de la Asociación Española de Semiótica 17 (January 1, 2008). http://dx.doi.org/10.5944/signa.vol17.2008.6193.

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El artículo profundiza en los aspectos autobiográficos y las renovaciones formales de Los apuntes de Malte Laurids Brigge, de Rainer María Rilke, que más han influido en la creación del Yo novelístico contemporáneo.
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34

Carrier-Lafleur, Thomas. "Regards de la modernité. Simulacre et négativité dans Les Carnets de Malte Laurids Brigge et On tourne." @nalyses. Revue des littératures franco-canadiennes et québécoise, September 5, 2016. http://dx.doi.org/10.18192/analyses.v11i3.1832.

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Cette étude entend proposer une lecture comparative de deux romans européens, chronologiquement et thématiquement voisins, que l’on associe au mouvement général du modernisme littéraire : Les Carnets de Malte Laurids Brigge (1910) de Rainer Maria Rilke et On tourne (1915) de Luigi Pirandello. Il s’agira essentiellement de montrer en quoi ces textes donnent à voir le monde moderne à travers une série d’images marginales, qui s’agencent et se modulent alors que les personnages du récit progressent vers leur inévitable fin. Plus particulièrement, en portant notre attention sur les représentations de la vie parisienne chez Rilke et du fonctionnement d’un grand studio de cinéma chez Pirandello, nous verrons comment ces romans tentent d’instaurer une critique interne du progrès et de ses avatars.
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35

Donahue, Neil H. "Fear and Fascination in the Big City: Rilke's Use of George Simmel in The Notebooks of Malte Laurids Brigge." Studies in 20th & 21st Century Literature 16, no. 2 (June 1, 1992). http://dx.doi.org/10.4148/2334-4415.1299.

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