Academic literature on the topic 'Rilke, Rainer Maria (1875-1926) – Traduction'
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Journal articles on the topic "Rilke, Rainer Maria (1875-1926) – Traduction":
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.
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.
Gubergrits, N. B. "The last note in the notebook." Herald of Pancreatic Club 53, no. 4 (June 15, 2022): 36–37. http://dx.doi.org/10.33149/vkp.2021.04.05.
Anan, Sylvia Tamie. "Entre a Pantera e o Anjo: Geir Campos e a recepção de Rainer Maria Rilke no Brasil." Opiniães, no. 12 (July 29, 2018): 50–62. http://dx.doi.org/10.11606/issn.2525-8133.opiniaes.2018.142722.
Jasaitytė, Jūratė. "The Construction of the Reception of Rilke and the Contexts of the Soviet Period." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (March 10, 2022): 95–104. http://dx.doi.org/10.37384/aplkp.2022.27.095.
Dissertations / Theses on the topic "Rilke, Rainer Maria (1875-1926) – Traduction":
Balg, Marie-Christine. "« Être à l'écart », la poésie de Rilke dans le contexte de ses traductions du français et du danois : étude de trois motifs." Electronic Thesis or Diss., Toulouse 2, 2022. http://www.theses.fr/2022TOU20075.
The research presented here includes two main principles, firstly an analysis of Rainer Maria Rilke's poetic work between French and Scandinavian influences due to the works he translated compared to his work especially "Duineser Elegien" and the novel "Die Aufzeichnungen des Malte Laurids Brigge" and secondly the innovative concept of "being apart" ("Abseits-Sein", être à l'écart), previously introduced by me in a master's thesis at the University of Tübingen (Germany). This denotes a way of being that always keeps a distance from a firmly established literary schools or art movements or other traditions, but at the same time Rilke approaches them, and these traditions provide material for his original work. It is therefore an investigation of what can be discovered in the spaces between. For this, 3 basis motifs of Rilke are chosen : the non-possessive love, the opposition between man and woman (and the evolution towards an equilibrium between two new human beings) and finally, the motif of duration and disappearance staged with the means of the song. So it is about human conditions, its limits and its transgression. A quite innovation poetry leaves a whole new vision of the world, that of Rilke, apart from all traditions, apart from the predefined world of society. While society is organized in groups, in constrat, Rilke prefers the assessment by the individual human being. The basic features of this (Rilkes) world are the individual consciousness, the renunciation of rigid forms, the relation of other subjects instead of possession of objects, the internalization of the experienced transformed by the universal love
Lombez, Christine. "Philippe Jaccottet poète et traducteur." Rouen, 1998. http://www.theses.fr/1998ROUEL309.
Since the beginning of his career in the early 50s, ph. Jaccottet, contemporary french speaking poet born in switzerland, has proved to be both a famous poet and translator of prestigious authors such as Homer, Leopardi, Gongora, Mandelstam, Rilke, Hölderlin, among many others. But so far, surprisingly enough, no critic nor scholar has devoted any academical study to a problem which seems to be important in order to understand ph. Jaccottet's work: has ph. Jaccottet been influenced, in some way , by the writers he has been translating? It seems indeed very unlikely that one spends months, if not years, "living" with an author without keeping track of his thematic or his style, whether consciously or not. The purpose of this dissertation is therefore to study to which extent ph. Jaccottet has been influenced by the poets he had to translate into French; we will focus our research especially on translations from Hölderlin and Rilke and lay the emphasis on these two German speaking poets who have played a great part in Jaccottet’s life and world of references. We'll try and study in detail their influence on Ph. Jaccottet's poetical and critical approach from a poetical, stylistical and thematical point of view. Then, to complete our dissertation, we'll have a glimpse in the German versions of Ph. Jaccottet's poetry, in order to find out the problematic sides of his work for german speaking translators
Tautou, Alexis. "Histoire des (re-)traductions et des (re-)traducteurs de la poésie de Rainer Maria Rilke dans l'espace francophone." Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2029.
This dissertation rests on the double articulation of Antoine Berman’s analysis of translation in Toward a translation criticism: John Donne. Indeed, Berman’s method integrates as well a macroscopic and individual history of translations as an analysis of texts, considering their peripheral features (paratexts, translation projects, etc.). In the first part, we will depict through a historical panorama the import of Rilke’s poetry in French, from the first versions of the early 20th century to the latest translations of the Duino Elegies. We will thereby give heed to the identity of the different (re-)translators and to the general horizon of their translations. In the second part, we will compare several French versions of the first Duino Elegy, Rilke’s most retranslated poetical opus in French. Through various criteria dealing with form and sense, it will be a question of comprehending what these translations bring and the kind of bond holding them together. We intend eventually to find out whether the sociocultural behaviors we noticed in the first part are also observable in the practices of the Duinesian (re-)translators
Barbotin, Frédéric. "Le silence dans l'oeuvre de Rainer Maria Rilke." Paris 12, 2002. http://www.theses.fr/2002PA120057.
The German speaking writer RAINER MARIA RILKE, who was born in Prague in 1875 and died in Valmont, in Switzerland, in 1927, left behind him epistolary narrative and poetic works of considerable importance. The study which we are presenting here intends to show to what extent these works may be determined by the poetics of silence. Silence may first of all defined through its opposition to noise, meaning all physical, psychic and relational disturbances which compromise creative work by blocking out silence (Part one). However, silence can also turn out to be negative and destructive: the interiority closes up to the point at which it collapses into itself, leading to a deprivation of the world from which the poet can only escape by undergoing a paroxysmic fit illustrated by the theme of the cry (Part two). After this turning point, the nature of silence changes becoming constructive and healing: as much for human beings qualified as "silenciary", as for animals forming a bestiary, and for things which hold precious lessons (Part three). Only then does the paradoxical nature of silence show itself through the dialectic of what can or cannot be said (Final part). In conclusion, we can affirm that poetics of silence have a central position in the works of RILKE by determining a progression and a relationship with the world
Alberti, Olympia. "De l'être à soi ou l'épistolarité et la création chez Rainer Maria Rilke." Nice, 1995. http://www.theses.fr/1995NICE2019.
Based on Rilke's poetic works, novels and, especially letters, this research settles the problem of epistolary writing, and shows in a first part the process of "writing to another", beyond the appearance of duality between the being and the world (the self and the other). The letter is then studied as the prefered rilkean way of life ("to write is to live"), then as the multiplied space of theoric thoughts about the act of creation. And when the letters have reached a sort of unity (a book), the epistolary act appears as built upon a true movement towards one's self, with forgetting the difference between the others and the self, it is based on an authentic work of creation towards the oneself. (many correspondents take place in this thesis, among them : Lou Andreas-Salomé, Marina Tsvetaieva, Boris Pasternak)
Winkelvoss, Karine. "Image et écriture : arts visuels et réflexion poétique chez Rilke." Paris 3, 2001. http://www.theses.fr/2001PA030158.
The work of the sight is done, turn now to the work of the heart. To critics, this 1914 turning (Wendung) often suggests that Rilke's work is divided between, on the one hand, his poetics of the visible, his "learning to see", an objective" sight strongly influenced by the visual arts (for instance by Rodin and Cézanne) ; and on the other, a poetics of pure interiority which has cut loose from visibility and no longer refers to the visual arts. However, the figure, a central Rilkean concept, is neither the straightforward imitation of the visible that the term "figurative" suggests, nor a denial of the visible, an avisual poetic figure working within a philosophical framework (image as pure idea) or a formalist one (image as a pure interplay of signifiers). Rilke's figure springs rather from figurability (Darstellbarkeit), a Freudian concept which presents defiguration as a constituent part of figuration, and which dismisses the alternative between "figurative" and "non-figurative", in which interpretations of Rilke's work, as well as of painting in his time, are often imprisoned
Dowrick, Stephanie B. "Rainer Maria Rilke : bearing witness." Thesis, View partial thesis, restricted access, 2008. http://handle.uws.edu.au:8081/1959.7/44105.
Liebich, Jens. "Poetik der Interaktion." Thesis, Nantes, 2019. http://www.theses.fr/2019NANT2031.
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
Carré, Martine. "Les "Élégies de Duino " ou la quête de la totalité." Paris 3, 1994. http://www.theses.fr/1995PA030076.
This study intends to deal with the "Elegies of Duino" from the angle of the work of their writing. It first follows the ways indicated by the title, the one of the complaint. It concludes with the despair of a subject who knows nothing of temporality but the negative aspects and who lives on a nostalgic mode with the acute consciousness of the moment that was decisive for him, the one of the catastrophic reversal opered by the "dialectic consciousness" of man. The reading thus strengltened with such discovery is altered in the light of the contradictions of the "fourth elegy". At the climax of lamentation, it discovers the desire that is what sets the text on to the way of progress and of the law of process. A second reversal is then to be operated. It functions as a saving shift and sets man in his way, i. E the one of the dynamic, fertile law of process. The text turns out to be an area for forces to converge. What is at stake is the quest of the ever partial totality of a living subject now in a present that keeps enriching itself with the past. The metamorphosis appears as the privileged place for this attempt at totalisation. The reading must finally ponder over the cycle and wonder whether it realizes this metamorphosis, whether in the privileged instant of its drafting, it sets the totality of the genre within which it proclaims to define itself. This reflexion leads to the realization of the very history of the cycle. Having discovered the process as the stake and moving force of the poem, it now discovers it as active in its very genesis. The work thus differs from some studies that reduce the rilkean work to one single structure anhistorically taken in charge by poetic speech
Hengl, Hugo. "Vu avec l'ouie : une étude acroamatique comparée des oeuvres de Fernando Pessoa et de Rainer Maria Rilke." Nice, 2012. http://www.theses.fr/2012NICE2031.
This study intends to compare the works of two leading representatives of poetic modernism at the turn of the 20th century, Fernando Pessoa and Rainer Maria Rilke, who notably shared an inclination for producing multiple and concurrential poetic models. The study’s author assumes that this phenomenon, commonly linked to a « crisis of the self » characteristic of this artistic and literary period, is eminently related to the fact that both poets had a keen interest in the realm of sound and hearing, at the poietic (the side of production) as well as the aesthesic level (i. E. The level of aesthetic reception), to borrow a terminology coined by Paul Valéry. The study therefore focuses on several facets of the work of the two poets, ranging from their conception of poetic inspiration and the notion of rhythm to their resort to techniques of spatialization, along with other aspects common to both, as dramatic writing, the interest in spiritism, translation and writing in a foreign language. By establishing parallels from an acroamatic « point of hearing », the study aims at allowing for a better understanding of the two authors’ specific modernism (and antimodernism), as well as beginning to trace out their relevance in the context of postmodernism
Books on the topic "Rilke, Rainer Maria (1875-1926) – Traduction":
Komar, Kathleen L. Transcending angels: Rainer Maria Rilke's Duino elegies. Lincoln: University of Nebraska Press, 1987.
Freedman, Ralph. Life of a poet: Rainer Maria Rilke. New York: Farrar, Straus, and Giroux, 1996.
Freedman, Ralph. Life of a poet: Rainer Maria Rilke. Evanston, Ill: Northwestern University Press, 1998.
Gleisberg, Dieter. "Du musst dein Leben ändern": Rainer Maria Rilke (1875-1926). Edited by Galerie im Quellenhof Garbisdorf. Altenburg: E. Reinhold Verlag, 2015.
Ritter, Ina. Die Epiphanie des Augenblicks: Wahrnehmung und Projektion bei Rainer Maria Rilke und Jens Peter Jacobsen. Frankfurt am Main: P. Lang, 2009.
Liu, Huiru. Suche nach Zusammenhang: Rainer Maria Rilkes "Die Aufzeichnungen des Malte Laurids Brigge". Frankfurt am Main: P. Lang, 1994.
Subramanian, B. Engel und Mensch: Studien zu Rilkes Duineser Elegien. Bern: P. Lang, 1986.
1933-, Metzger Erika A., and Metzger Michael M, eds. A companion to the works of Rainer Maria Rilke. Columbia, S.C: Camden House, 2004.
1933-, Metzger Erika A., and Metzger Michael M, eds. A companion to the works of Rainer Maria Rilke. Rochester, NY: Camden House, 2004.
Hendry, J. F. The sacred threshold: A life of Rainer Maria Rilke. Manchester [England]: Carcanet, 1985.
Book chapters on the topic "Rilke, Rainer Maria (1875-1926) – Traduction":
Struve, Ulrich. "Rainer Maria Rilke (1875–1926)." In Der Findling Kaspar Hauser in der Literatur, 117. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03383-3_25.
Manning, Jane. "PETER WIEGOLD (b. 1949)Les Roses (1998)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 312–16. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0087.