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Journal articles on the topic 'Rainer Maria Rilke e la negazione'

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Published: 11 March 2023

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1

Bradley, Brigitte L., and Patricia Pollock Brodsky. "Rainer Maria Rilke." German Quarterly 62, no. 4 (1989): 535. http://dx.doi.org/10.2307/406910.

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Jacobs, Margaret, and Patricia Pollock Brodsky. "Rainer Maria Rilke." Modern Language Review 84, no. 3 (July 1989): 800. http://dx.doi.org/10.2307/3732520.

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3

Krisak, L. "Rainer Maria Rilke: Adam." Literary Imagination 10, no. 2 (October 27, 2007): 150. http://dx.doi.org/10.1093/litimag/imm071.

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4

Krisak, L. "Rainer Maria Rilke: Eve." Literary Imagination 10, no. 2 (October 27, 2007): 149. http://dx.doi.org/10.1093/litimag/imm072.

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5

Kirchwey, K. "Rainer Maria Rilke: Black Cat." Literary Imagination 7, no. 2 (January 1, 2005): 194. http://dx.doi.org/10.1093/litimag/7.2.194.

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6

Mook, L. "Rainer Maria Rilke: Two Selections." Literary Imagination 8, no. 2 (January 1, 2006): 304–6. http://dx.doi.org/10.1093/litimag/8.2.304.

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7

Hutchinson, Ben, and Volker Durr. "Rainer Maria Rilke: The Poet's Trajectory." Modern Language Review 102, no. 3 (July 1, 2007): 896. http://dx.doi.org/10.2307/20467510.

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8

Dumbaugh, Della J. "New Poems by Rainer Maria Rilke." Journal of Austrian Studies 50, no. 1-2 (2017): 156–59. http://dx.doi.org/10.1353/oas.2017.0021.

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9

Belfiore, P. J. "Rainer Maria Rilke: Orpheus. Eurydice. Hermes." Literary Imagination 9, no. 3 (May 26, 2007): 351–53. http://dx.doi.org/10.1093/litimag/imm065.

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10

Rey, Maurice. "Une lecture de Rainer Maria Rilke." Le Coq-héron 204, no. 1 (2011): 33. http://dx.doi.org/10.3917/cohe.204.0033.

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11

Saalmann, Dieter, Egon Schwarz, and Rainer Maria Rilke. "Rainer Maria Rilke: Prose and Poetry." German Studies Review 8, no. 1 (February 1985): 162. http://dx.doi.org/10.2307/1429641.

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12

Cerf, Steven R., and Richard Petit. "Rainer Maria Rilke in und nach Worpswede." German Quarterly 61, no. 2 (1988): 336. http://dx.doi.org/10.2307/406874.

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13

Biemel, Walter. "„Sonetele cǎtre Orfeu“ de Rainer Maria Rilke." Studia Phaenomenologica 3, no. 9999 (2003): 299–306. http://dx.doi.org/10.7761/sp.3.s1.299.

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14

Hamard, Marie-Françoise. "Mélophobie ? Le cas de Rainer Maria Rilke." Littératures, no. 66 (November 16, 2012): 47–62. http://dx.doi.org/10.4000/litteratures.183.

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15

Pfau, Thomas. "Godzenie skończoności i eschatologii u Rilkego i T.S. Eliota." Konteksty Kultury 17, no. 2 (2020): 135–51. http://dx.doi.org/10.4467/23531991kk.20.012.12446.

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Balance of Apocalypticism and Eschatology in Rainer Maria Rilke and T.S. Eliot This text takes up the relation of the modernist lyric (Rainer Maria Rilke and T.S. Eliot) to Martin Heidegger’s existentialist conception of time and the naturalistic anthropology it has spawned. Building on that, I argue that Rilke’s Duino Elegies not only anticipate central motifs of existentialism but, in qualified ways, part ways with that outlook. I then take up the second of Eliot’s Four Quartets to show that, more emphatically than Rilke, Eliot maintains that poetry of any substance can only be written insofar as it is grounded in an eschatological framework. East Coker in particular shows Eliot’s seeking to balance the apocalypticism of a world once again mired in global warfare with a hope, however, subdued, for mankind’s eventual redemption.
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16

Hutchinson, Ben. "Duino Elegies by Rainer Maria Rilke, Martyn Crucefix." Modern Language Review 103, no. 1 (2008): 283–84. http://dx.doi.org/10.1353/mlr.2008.0273.

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17

Taubman, Jane A., Patricia Pollock Brodsky, and Rainer Maria Rilke. "Russia in the Works of Rainer Maria Rilke." Slavic and East European Journal 30, no. 2 (1986): 290. http://dx.doi.org/10.2307/307612.

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18

Depotte, Jean, and Jean-Marie André. "Rainer Maria Rilke – 1875-1926, le poète ultime." Hegel N° 1, no. 1 (2016): 66. http://dx.doi.org/10.4267/2042/58973.

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19

Jankélévitch, Vladimir, and Rainer Maria Rilke. "Vladimir Jankélévitch (Zitate) und Rainer Maria Rilke (Gedicht)." Leidfaden 8, no. 2 (May 20, 2019): 43–44. http://dx.doi.org/10.13109/leid.2019.8.2.43.

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20

Auras, Nina. "A onipresente arte da aniquilação: ironia e ideal em Rilke." Rapsódia, no. 15 (December 1, 2021): 180–98. http://dx.doi.org/10.11606/issn.2447-9772.i15p180-198.

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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.
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21

Reiss, Hans, and Donald Prater. "A Ringing Glass: The Life of Rainer Maria Rilke." Modern Language Review 82, no. 3 (July 1987): 796. http://dx.doi.org/10.2307/3730512.

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22

Bridge, Helen, Erika A. Metzger, Michael M. Metzger, Rainer Maria Rilke, Manfred Engel, and Dorothea Lauterbach. "A Companion to the Works of Rainer Maria Rilke." Modern Language Review 101, no. 2 (April 1, 2006): 585. http://dx.doi.org/10.2307/20466869.

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23

Winkler, Michael, and Gerhard Ammelburger. "Bejahungen: Zur Rhetorik des Ruhmens bei Rainer Maria Rilke." German Studies Review 19, no. 3 (October 1996): 572. http://dx.doi.org/10.2307/1432556.

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24

Hutchinson, Ben. "Rainer Maria Rilke: The Poet's Trajectory by Volker Durr." Modern Language Review 102, no. 3 (2007): 896. http://dx.doi.org/10.1353/mlr.2007.0004.

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25

Cushman, Jenifer S., Erika A. Metzger, and Michael M. Metzger. "A Companion to the Works of Rainer Maria Rilke." German Quarterly 76, no. 1 (2003): 124. http://dx.doi.org/10.2307/3252310.

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26

Unglaub, Erich. "Ein Brief von Rainer Maria Rilke an Wilhelm Hausenstein." Neohelicon 24, no. 1 (March 1997): 265–66. http://dx.doi.org/10.1007/bf02572991.

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27

Rosenfield, Kathrin H. "“A MELODIA COMO LUZ DA POESIA”: O IMPACTO DE F. NIETZSCHE SOBRE R. M. RILKE." Revista Dissertatio de Filosofia 38 (January 1, 2013): 37. http://dx.doi.org/10.15210/dissertatio.v38i0.8619.

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Este artigo apresenta a reflexão do poeta alemão R. M. Rilke sobre o princípio musical da poesia, que figura, desde Hölderlin, Novalis e Kleist, Schopenhauer e Nietzsche, entre os tópicos filosóficos importantes para artistas e teóricos da arte. Contextualizamos e comentamos a recepção de O Nascimento da Tragédia pelo poeta Rainer Maria Rilke, que começou a estudar a obra nietzschiana instigado por Lou Andreas-Salomé e apresentamos um texto inédito de Rilke sobre o assunto: “Marginalia em torno de F. Nietzsche”.
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28

Russ, Nicole. "Le thème de la mort dans l’oeuvre de Rainer Maria Rilke." Santé mentale au Québec 7, no. 2 (June 12, 2006): 147–50. http://dx.doi.org/10.7202/030153ar.

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Résumé Rainer Maria Rilke est né à Prague en 1875. Toute son oeuvre poétique a été rédigée en allemand sauf quelques poèmes écrits en français. Il existe d'ailleurs des traductions française et anglaise de son oeuvre. Dans cet article, l'auteur étudie le thème de la mort dans l'oeuvre de ce poète. L'angoisse de la mort et la nécessité d'y répondre ont été dans l'oeuvre de Rilke une force d'inspiration. L'auteur présente trois aspects de ce thème : le concept de l'Ouvert (das Offene), la mort vue comme un acte personnel et la mort comme compagne de la vie.
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29

Torres, Ana Maria Ferreira, and Mayara Ribeiro Guimarães. "Römische Fontäne, de Rilke, traduzido por José Paulo Paes e Augusto de Campos." Revista Letras Raras 9, no. 3 (August 29, 2020): 228. http://dx.doi.org/10.35572/rlr.v9i3.1707.

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Neste trabalho, realizou-se a comparação entre as traduções de José Paulo Paes e Augusto de Campos do poema Römische Fontäne [Fonte Romana], de Rainer Maria Rilke, presente em seu livro Neue Gedichte – I, [Novos Poemas - I]de 1907. Essas traduções estão presentes nas antologias Rainer Maria Rilke [Poemas] (1993), de Paes, e Rilke: Poesia-Coisa (1994), de Campos. Para cumprir o objetivo principal, discorreu-se sobre o conceito do livro Novos Poemas, bem como sobre a figura da fonte, na poesia de Rilke. Em seguida, realizou-se a análise, sob os parâmetros de análise do poema e das traduções propostos por Mário Laranjeira (1993). Também foi utilizada a classificação de Hans Vermeer (1994 apud SNELL-HORNBY, 2012) para classificar as traduções quanto ao seu grau de distanciamento ou de aproximação à língua de chegada. Por meio da análise e comparação, constatou-se que a principal diferença entre as duas traduções decorre do modo como cada tradutor lidou com a iconicidade verbal presente no poema de Rilke. Outrossim, verificou-se que, em relação à língua de partida, o texto de Paes é mais distanciador, ao passo que o de Campos é mais aproximador. Acerca da obra rilkeana, consultou-se as seguintes fontes: Judith Ryan (2004), Manfred Engel (2004), Otto von Bollnow (1955), Wolfgang Müller (1997) e Benedito Nunes (2009).
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30

Mourão, Nara Chaves. "O ofício da palavra (reflexões sobre o fazer literário em Rilke)." Revele: Revista Virtual dos Estudantes de Letras 3 (December 31, 2011): 418. http://dx.doi.org/10.17851/2317-4242.3.0.418-434.

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As correspondências de escritores podem funcionar como rica fonte de pesquisa dadoseu caráter testemunhal. Rainer Maria Rilke, em sua obra Cartas a um Jovem Poeta, - umacompilação das missivas remetidas ao jovem Franz Kappus - reflete acerca do fazerliterário tendo a própria vida como ponto de partida. No presente artigo, pretendemosestudar alguns aspectos da criação literária em Rilke, formulando uma construção teóricaproveniente da obra do escritor, em detrimento a uma concepção crítica fechada.
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31

McLaughlin, Carly. "Reluctant Affinities. Rainer Maria Rilke and Richard Dehmel. (203–220)." Sprachkunst. Beiträge zur Literaturwissenschaft 37 (2007): 203–20. http://dx.doi.org/10.1553/spk37_2s203.

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32

Moskaleva, A. E. "Harlequin and Pierrot in the Works of Rainer Maria Rilke." Critique and Semiotics, no. 1 (2018): 230–42. http://dx.doi.org/10.25205/2307-1737-2018-1-230-242.

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33

Tavis, Anna A. "Russia in Rilke: Rainer Maria Rilke's Correspondence with Marina Tsvetaeva." Slavic Review 52, no. 3 (1993): 494–511. http://dx.doi.org/10.2307/2499721.

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Rainer Maria Rilke's widely celebrated fiftieth birthday in December 1925 and his sudden death on 29 December 1926 framed his correspondence with members of Boris Pasternak's family and Marina Tsvetaeva- Efron, for which Leonid Pasternak's initial greetings to his old Moscow friend and Rilke's prompt reply had set the stage. It was agreed that Rilke's letters from Switzerland would be sent to Boris Pasternak in Moscow via Marina Tsvetaeva in Paris. Against all historical and political odds, the three poets decided to form a union, the last one, perhaps, of an era which still believed that the making of poetry equaled the making of life. Rilke's participation in this association reassured uprooted Russian writers of their continuing link with European culture and history.
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34

Böschenstein, Bernard. "Rainer Maria Rilke, poète français, à l'écoute de Paul Valéry." Études Germaniques 262, no. 2 (2011): 289. http://dx.doi.org/10.3917/eger.262.0289.

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35

Ostmeier, Dorothee. "Gender Debates between Rainer Maria Rilke and Lou Andreas-Salome." German Quarterly 73, no. 3 (2000): 237. http://dx.doi.org/10.2307/3072860.

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36

Rose, Marilyn Gaddis. "Review:The Migration of Powers, French Poems by Rainer Maria Rilke." Translation Review 21-22, no. 1 (November 1986): 48–49. http://dx.doi.org/10.1080/07374836.1986.10523390.

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37

Saalmann, Dieter. "Affinitäten und Diskrepanzen zwischen Rainer Maria Rilke und Nicolas Born." Orbis Litterarum 40, no. 2 (June 1985): 125–44. http://dx.doi.org/10.1111/j.1600-0730.1985.tb00829.x.

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38

Eben, Michael C. "Rainer Maria Rilke and Gertrud Kolmar: Das dinggedicht-two poems." Neophilologus 73, no. 4 (October 1989): 633–36. http://dx.doi.org/10.1007/bf00214606.

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39

Vanwesenbeeck, Birger. "Plath Translates Rilke." Twentieth-Century Literature 68, no. 4 (December 1, 2022): 365–88. http://dx.doi.org/10.1215/0041462x-10237756.

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In the fall of 1954, enrolled in an undergraduate intermediate German course, Sylvia Plath undertook a translation of Rainer Maria Rilke’s 1908 poem “Ein Prophet.” Though this translation has received only scant attention from scholars, it represents Plath’s first poetic engagement with German, an engagement that extends all the way to the six poems she wrote about the untimely death of her German-born father. Taking that early work seriously, then, this essay explores the relationship between mourning and translation in Plath’s work from the Rilke translation through the muchstudied later poems. Where translation is often figured as a process of loss, with a focus on what is “lost in translation,” this essay argues that in Plath’s work it figures too as a way of responding to loss—as a process of mourning.
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40

Wójcik, Tomasz. "Apis mellifera (Rilke, Leśmian, Valéry, Miłosz)." Tekstualia 1, no. 7 (December 31, 2021): 9–14. http://dx.doi.org/10.5604/01.3001.0015.6679.

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This essay concerns Paul Valéry’s sonnet The Bee, a fragment of Rainer Maria Rilke’s letter to Witold Hulewicz, Boleslaw Lesmian’s poem The Bees, and a fragment of Czeslaw Milosz’s poem Orpheus and Eurydice. Investigating the semantics and symbolism of the bee, a trope common to each text, allows for a reading of a broader ontological project: the relationship between being and non-being. This essay centres on denying the division between being and non-being, proposing the concept of a greater whole instead.
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41

Rosenfield, Kathrin, and Lawrence Flores Pereira. "Rainer Maria Rilke e Paula Modersohn-Becker Um diálogo inspirador no Réquiem a uma Amiga." Pandaemonium Germanicum 24, no. 44 (June 25, 2021): 271–95. http://dx.doi.org/10.11606/1982-88372444271.

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Este artigo apresenta o Réquiem a uma Amiga (tradução no final do artigo) com algumas reflexões ensaísticas sobre o lugar desse poema na obra do poeta R. M. Rilke. Iniciaremos com observações biográficas (os encontros do poeta com a escultora Clara Westhoff e sua amiga Paula em Paris em 1900) que ocasionaram o estudo da pintura de paisagem e um pequeno livro de ocasião de Rilke sobre a colônia de artistas de Worpswede, no norte da Alemanha. O forte impacto que esses encontros – e em particular a análise das telas de Paula Modersohn-Becker em 1905 - tiveram sobre a sensibilidade poética de Rilke contribuíram para a nova forma estilística (Dingwendung) que se manifesta na obra madura de Rilke. Apresentamos assim um momento de vida e um aspecto específico do desenvolvimento da relação do poeta e de sua obra com as artes plásticas, que ilumina o papel da poesia como trabalho de luto do poeta e como prefiguração das obras da fase madura dos Sonetos e das Elegias.
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42

Costa, Alexandre Rodrigues da. "O quiasma e a experiência da infinitude nas obras de Rainer Maria Rilke e Clarice Lispector." Estudos de Literatura Brasileira Contemporânea, no. 53 (April 2018): 369–86. http://dx.doi.org/10.1590/2316-40185317.

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resumo Este artigo analisa como o quiasma, tanto em uma perspectiva retórica quanto fenomenológica, estabelece relações entre as obras de Rainer Maria Rilke e de Clarice Lispector, no momento em que os dois autores usam a palavra como forma de alcançar uma identificação plena do eu com o mundo.
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43

Hocini, Férodja. "RILKE, POETE, ADOLESCENT OU LA SOLITUDE ESSENTIELLE." Psicologia Argumento 25, no. 49 (November 1, 2017): 165. http://dx.doi.org/10.7213/psicolargum.v25i49.19985.

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Rainer Maria Rilke, poète de la solitude par excellence, figure emblématique du poète sans patrie, fait revivre en nous des éprouvés adolescents, eux-mêmes reviviscences d’éprouvés primordiaux. Le thème de la solitude est cher au poète et traverse la plus grande partie de son oeuvre, oeuvre composée dans une alternance de moments d’exaltation euphorique et de profond désespoir. A la lumière d’une recherche biographique et des textes poétiques de Rilke, peuvent apparaître les origines et enjeux de cette solitude essentielle.
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44

Hocini, Férodja. "RILKE, POETE, ADOLESCENT OU LA SOLITUDE ESSENTIELLE." Psicologia Argumento 25, no. 49 (November 1, 2017): 165. http://dx.doi.org/10.7213/rpa.v25i49.19985.

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Rainer Maria Rilke, poète de la solitude par excellence, figure emblématique du poète sans patrie, fait revivre en nous des éprouvés adolescents, eux-mêmes reviviscences d’éprouvés primordiaux. Le thème de la solitude est cher au poète et traverse la plus grande partie de son oeuvre, oeuvre composée dans une alternance de moments d’exaltation euphorique et de profond désespoir. A la lumière d’une recherche biographique et des textes poétiques de Rilke, peuvent apparaître les origines et enjeux de cette solitude essentielle.
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45

Leubner, Ben. "Commanding Angels." Religion and the Arts 19, no. 5 (2015): 531–51. http://dx.doi.org/10.1163/15685292-01905003.

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This article investigates the conception of and attitude towards the ‘beyond’ in the work of the twentieth-century poets Rainer Maria Rilke and James Merrill, arguing for striking similarities in this regard despite the two poets being of different generations, nationalities, and languages. While the influence of poets such as W. B. Yeats and W. H. Auden on Merrill has been thoroughly illustrated by others, this essay aims to illustrate the no less paramount but less often discussed influence of Rilke, especially in matters regarding the spiritual.
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46

Martins, Sidney. "Hermenêutica de Rilke." Páginas de Filosofia 8, no. 1-2 (March 26, 2020): 87. http://dx.doi.org/10.15603/2175-7747/pf.v8n1-2p87-98.

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Franz Xaver Kappus foi um aspirante à poeta que pediu conselhos e sugestões ao renomado escritor Rainer Maria Rilke. Estes pedidos se deram por meio de cartas ao qual Kappus não recebe nenhuma sugestão quanto à estilística, métrica ou composição de poemas, mas sim, vários conselhos na perspectiva de construção de uma obra através das experiências mais singelas da vida. Após o falecimento de Rilke a coleção destas epistolas direcionadas a Kappus foi compilada em um livro, com o sugestivo nome de “Cartas a um Jovem Poeta”. Desde então tem servido para muitos leitores como um livro basal ao entendimento pessoal, que versa sobre o pertencimento e de qual é o nosso lugar de atuação no mundo. Essa comunicação tange ao conteúdo dessas cartas, de que cunho são tais conselhos e o fundo filosófico que estes contém; com isso realiza-se uma analise desta emblemática obra do século XX.
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47

Moreira, Camila. "Rilke: um "francês" entre os franceses." Letras & Letras 35, no. 2 (December 30, 2019): 181–96. http://dx.doi.org/10.14393/ll63-v35n2-2019-10.

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Rainer Maria Rilke é um dos poetas alemães com ampla recepção no Brasil e um dos mais traduzidos, embora ainda não integralmente. Fala-se muito de sua relação de aprendiz de Rodin e, daí derivado, do poema-coisa. Entretanto, a importância da poesia simbolista francesa ao longo da produção do poeta alemão carece de uma análise mais cuidadosa, especialmente quando se parte também de uma leitura a partir da filosofia nietzcheana, outra leitura de intensa influência nas suas composições. Pretende-se, então, a partir da seleção e análise de alguns poemas, justificar por que Rilke deve ser considerado um “francês” entre os franceses.
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48

Wójcik, Tomasz. "Apis mellifera (Rilke, Leśmian, Valéry, Miłosz)." Tekstualia 1, no. 52 (July 19, 2018): 101–6. http://dx.doi.org/10.5604/01.3001.0013.3132.

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The article concerns Paul Valéry’s sonet The Bee, a fragment of Rainer Maria Rilke’s letter to Witold Hulewicz, Boleslaw Lesmian’s poem The Bees and a fragment of Czeslaw Milosz’s poem Orpheus and Eurydice. The analysis of the semantic connotations and symbolic meanings of the bee, which appears in these texts, shows them as elements of a larger ontological project: an attempt to answer the question of the relation between being and non-being. In essence, this project denies the division into being and non- -being, proposing the concept of a greater whole instead the entrenched opposition.
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49

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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Gil-Ung Kim. "Tod in der Literatur von Thomas Mann und Rainer Maria Rilke." Zeitschrift f？r Deutsche Sprache und Literatur ll, no. 79 (March 2018): 173–92. http://dx.doi.org/10.30947/zfdsl.2018..79.173.

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