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Auteur : Grafiati
Publié le 11 mars 2023

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1

BASILE, Alessandra. « "Nous avons parlé comme indéfinement". L'incontro- scontro tra Rainer Maria Rilke e Paul Valéry e il linguaggio della negazione negli ultimi versi francesi ». Doctoral thesis, Università degli Studi di Verona, 2010. http://hdl.handle.net/11562/344012.

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Gli ultimi cinque anni della vita di Rainer Maria Rilke sono segnati dall’incontro con l’opera del poeta francese Paul Valéry. Da questo momento in poi Rilke si dedica alla traduzioni dal francese al tedesco e alla scrittura di poesie in francese che questo lavoro si propone di analizzare e contestualizzare seguendo degli orientamenti di carattere storico-culturale, poetologico e linguistico. I primi capitoli descrivono i processi di ricezione dell’opera di Rilke in Francia e di Valéry in Germania e fanno il punto della situazione sullo stato della ricerca relativo ai due poeti con particolare accento sul valore che il significante assume nei loro testi. Tali premesse preparano il terreno per un’analisi delle traduzioni rilkiane di Valéry nelle quali emerge una particolare tendenza di Rilke all’uso della negazione. Essa, sia dal punto di vista linguistico che concettuale è lo strumento che Rilke paradossalmente sceglie per enfatizzare delle affermazioni. L’affrancamento dal desiderio di possesso fino alla rinuncia totale e il gioco degli opposti su cui Rilke costruisce tutte le poesie in francese dai Vergers a Les Fenêtres gli permettono di raggiungere l’obiettivo finale di tutta la sua produzione poetica, la sintesi tra io e mondo all’interno del Weltinnenraum. Pur essendo estremamente diverso dal poeta tedesco, Valéry gli offre la lingua, la misura e il controllo adeguati per dare espressione al suo ultimo slancio poetico.
Rainer Maria Rilke’s last years are marked by the influence of the works of the French poet Paul Valéry. The reading of Paul Valéry’s writings leads Rilke to start translating many of his poems from French to German and to write new poems directly in French which this work takes into account through a historical, cultural, poetological and linguistical point of view. The first part of this dissertation concerns the reception of Valéry’s works in Germany and Rilke’s works in France in order to identify the ways in which their different cultural sylstems interlace and also examines the research carried out on the value of the signifier in their works. These preliminary remarks prepare the ground for an analysis in the successive parts of the Rilkian translations of Valéry’s poems that show the particular Rilke’s tendency to negation. Negation represents an instrument from both linguistic and conceptual point of view that Rilke chooses in order to emphasize statements. The act of freeing oneself from the desire of possession to the point of complete renouncement and the game of opposites on which he builds his French cycles from Vergers to Les Fenêtres allows him to reach the final aim of his poetic production, the synthesis between “I” and “world”within the “Weltinnenraum”. Altough he is extremely different from the german poet, Valéry offers him the suitable language, measure and control to give expression to his final poetic impulses.
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2

Dowrick, Stephanie B. « Rainer Maria Rilke : bearing witness ». Thesis, View partial thesis, restricted access, 2008. http://handle.uws.edu.au:8081/1959.7/44105.

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This study of the poet Rainer Maria Rilke (1875-1926) explores both epistemological and ontological themes, explicitly asking what readers may “bear witness to” within themselves, as well as on the page, through their reading. The primary question of the study comes from Martin Heidegger’s essay on Rilke when (quoting Hölderlin) he asks: “What are poets for (in these destitute times)?” and whether this has genuine significance beyond entertainment or diversion. The spiritual complexity of Rilke’s work has been of some interest to many scholars. In this study I centralise that interest at book-length for the first time since Frederico Olivero’s 1931 study of mysticism in Rilke’s work. Also for the first time I privilege the perspective of the contemporary general reader, looking at the spiritual variances and ambiguities within Rilke’s work and why they may have a particular resonance for twenty-first century readers. This allows for a more diffused discussion about reading as well as writing, with attention to the acquisition of knowledge and the forces of imagination and inspiration as well as subjectivity. The study looks closely at Rilke’s poetry, from the popular Book of Hours to the more challenging Duino Elegies and Sonnets to Orpheus, as well as the varied translations into English, using that variety to intensify insights about the inevitable subjectivity of readers as well as translators. I discuss Rilke’s psychologically and socially complex life, revealed in part through his legacy of more than 10,000 letters. How readers “read” the life of a writer self-evidently colours their reading of the work. I propose that this simultaneously allows for an enhanced “reading” of and greater understanding of their own spiritual or existential needs and individual subjectivity. The study calls on the work of a number of critics outside the field of literary studies. These include the psychoanalytic writers Alice Miller and James Hillman and the philosophers Hans-Georg Gadamer, Iris Murdoch, Gaston Bachelard, John Armstrong, George Steiner, Gabriel Marcel, Rudolf Otto and Martin Heidegger. The study speaks both explicitly and implicitly for John Keats’s idea of “negative capability” and the specific demands of bringing to the reading of Rilke, and the writing about him, the receptiveness and concentration of a “poet’s” mind where, as Rilke himself urged, questions can matter more than answers and the need for absolutism can be postponed.
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3

Dowrick, Stephanie B. « Rainer Maria Rilke bearing witness / ». View partial thesis, restricted access, 2008. http://handle.uws.edu.au:8081/1959.7/44105.

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Thesis (Ph.D.)--University of Western Sydney, 2008.
A thesis presented to the University of Western Sydney, College of Arts, School of Humanities and Languages, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.
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4

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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5

Ammelburger, Gerhard. « Bejahungen : zur Rhetorik des Rühmens bei Rainer Maria Rilke / ». Würzburg : Königshausen und Neumann, 1995. http://catalogue.bnf.fr/ark:/12148/cb39234574g.

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6

Magnússon, Gísli. « Dichtung als Erfahrungsmetaphysik : esoterische und okkultistische Modernität bei R.M. Rilke / ». Würzburg : Königshausen & ; Neumann, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3200735&prov=M&dok_var=1&dok_ext=htm.

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7

Kopp-Marx, Michaela. « Rilke und Rodin : auf der Suche nach der wahren Art des Schreibens / ». Frankfurt am Main : P. Lang, 1999. http://catalogue.bnf.fr/ark:/12148/cb376473074.

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8

Barbotin, Frédéric. « Le silence dans l'oeuvre de Rainer Maria Rilke ». Paris 12, 2002. http://www.theses.fr/2002PA120057.

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Né en 1875 à Prague, mort en 1927 à Valmont, en Suisse, l'écrivain germanophone RAINER MARIA RILKE a laissé une oeuvre épistolaire, narrative et poétique d'une portée considérable. L'étude que nous présentons ici vise à montrer dans quelle mesure cette oeuvre est déterminée par une poétique du silence. Le silence se définit tout d'abord par son opposition au bruit, compris comme l'ensemble des perturbations de nature physique, psychique et relationnelle qui compromettent le travail créateur en faisant écran au silence (première partie). Toutefois, le silence peut se révéler également négatif et destructeur: l'intériorité se referme au point de s'effondrer sur elle-même, menant à une privation de monde à laquelle le poète ne peut échapper qu'en passant par une crise paroxystique qu'illustre la thématique du cri (deuxième partie). Après ce tournant, le silence change de nature, devient constructeur et se fait porteur de guérison: tant pour les êtres humains, qualifiés de silenciaires, que pour les créatures animales constituant un bestiaire, et les choses qui réservent de précieuses leçons (troisième partie). Alors se manifeste , à travers la dialectique du dicible et de l'indicible, le caractère paradoxal du silence (quatrième et dernière partie). En conclusion, nous pouvons affirmer que la poétique du silence tient une place centrale dans l'oeuvre de Rilke en déterminant un cheminement et un rapport au monde
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
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9

Sadaka, Ramsey. « Scenes from the Poetry of Rainer Maria Rilke ». Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22730.

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Scenes from the Poetry of Rainer Maria Rilke is a twenty-five minute work for violin and small ensemble. The accompanimental ensemble consists of flute (doubling alto flute), Bb clarinet, viola, cello, percussion (crotales and vibraphone), and piano. This piece is in four connected movements, and each movement is based on a different poem by the Bohemian-Austrian poet, Rainer Maria Rilke.
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10

King, Martina. « Pilger und Prophet : heilige Autorschaft bei Rainer Maria Rilke / ». Göttingen, Niedersachs : Vandenhoeck & ; Ruprecht, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783525206034.

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11

Brown, George Bernard. « Erika Mitterer's correspondence in verse with Rainer Maria Rilke ». Thesis, Lancaster University, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317401.

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12

King, Martina. « Pilger und Prophet heilige Autorschaft bei Rainer Maria Rilke ». Göttingen Vandenhoeck & ; Ruprecht, 2008. http://d-nb.info/991399145/04.

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13

Reynolds, Nicholas. « Sense and Creative Labor in Rainer Maria Rilke's Prose Works ». Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18350.

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Although Rainer Maria Rilke is one of the most widely-read poets in the world and there are mountains of secondary literature on his poetry, his prose works are not given nearly so much attention. The present study is a reading of several of those works, with particular attention given to the role that the senses and creative labor play there. I begin with his "Ur-geräusch" essay (1919), in which Rilke reveals a fascination with the phonograph and a certain jealousy of its abilities. The phonograph provides a model for creative labor, as well as clues about Rilke's thinking on the relationship between this process of creation and the senses. There is an original synesthetic moment when, as a child in his science classroom, Rilke sees the phonograph translating the vibrations received by the horn and carving them into the wax and in turn hears his and the voices of his classmates played back through that horn. This moment in which the senses are blurred together perplexes him and he is left to make sense of this experience for years afterward. With the Geschichten vom lieben Gott (1900), the question turns to the relationship between creative labor and creation as such. The primordiality that was revealed in the sound produced by the phonograph is the subconscious for Rilke, which is our connection to the divine. Although we have been severed from that divine source, we are able to produce it through certain circumstances, viz. through our intersubjective interactions, especially storytelling. We also cultivate it through labor, if we are able to do it: we are stuck in the "Seventh Day," unable to work for the most part, which is the particular plight of Malte Laurids Brigge (1910). He undergoes the necessary transformation to do labor, a certain deconstruction of the self, but is unable to complete the circuit by expressing this change through his works. Auguste Rodin (1903), Rilke's monograph on the sculptor, shows us the ideal artist: able to dig up the tremendous energies of the subconscious and to channel them into great works.
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14

Winkelvoss, Karine Didi-Huberman Georges. « Rilke, la pensée des yeux / ». Asnières : PIA, 2004. http://catalogue.bnf.fr/ark:/12148/cb39263837g.

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Texte remanié de: Th. doct.--Lettres--Paris 3, 2001. Titre de soutenance : Image et figure, arts visuels et réflexion poétique chez Rilke.
Bibliogr. p. 337-350. Index. PIA = Publications de l'Institut d'allemand.
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15

Drude, Matthias, et Rainer Maria Rilke. « Drei Lieder nach Gedichten von Rainer Maria Rilke : (1981-82) ». Matthias Drude, 2018. https://slub.qucosa.de/id/qucosa%3A17094.

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Die Drei Lieder nach Gedichten von Rainer Maria Rilke entstanden 1981- 82 während meines Schulmusikstudiums an der Hochschule für Musik und Theater Hannover, also in einer Zeit, in der ich kompositorisch noch weitgehend als Autodidakt gearbeitet habe. Die Komposition einschließlich der Textauswahl ging auf eine Anregung meiner Gesangslehrerin Prof. Renate Altmann zurück, der ich viel im Hinblick auf die Singstimmenbehandlung zu verdanken habe. Im Rahmen des Gesangsunterrichts habe ich die Lieder selbst studiert. Später habe ich für meine Frau Andrea noch eine Ausgabe für hohe Stimme erstellt, die um einen Ganzton höher liegt. Da ich die Lieder auch heute noch für wertvoll erachte, habe ich mich dazu entschlossen, sie in den Computer-Notensatz zu übertragen.:1. Herbsttag 2. Was unser Geist der Wirrnis abgewinnt 3. Herbst
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16

Corrado, Sergio. « Poesia in cerca di oggetto : l'invocazione dell'altro nei "Gedichte an die Nacht" di Rilke / ». Milano : Cisalpino, 2000. http://catalogue.bnf.fr/ark:/12148/cb40050592c.

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17

Hlukhovych, Adrianna. « "... wie ein dunkler Sprung durch eine helle Tasse ..." Rainer Maria Rilkes Poetik des Blinden ; eine ukrainische Spur ». Würzburg Königshausen & ; Neumann, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2969759&prov=M&dok_var=1&dok_ext=htm.

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18

Fuchs, Britta A. « Poetologie elegischen Sprechens : das lyrische Ich und der Engel in Rilkes "Duineser Elegien" / ». Würzburg : Königshausen & ; Neumann, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783826040610.

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19

Schank, Stefan. « Kindheitserfahrungen im Werk Rainer Maria Rilkes eine biographisch-literaturwissenschaftliche Studie / ». St. Ingbert : Röhrig Universitätsverlag, 1995. http://catalog.hathitrust.org/api/volumes/oclc/35052536.html.

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20

Kluwe, Sandra. « Krisis und Kairos : eine Analyse der Werkgeschichte Rainer Maria Rilkes / ». Berlin : Duncker & ; Humblot, 2003. http://catalogue.bnf.fr/ark:/12148/cb39081076r.

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21

Kisseleva, Alexandra. « Das Prosagedicht und die allgemeine Theorie der literarischen Gattungen : eine Studie zu ausgewählten Werken R. M. Rilkes / ». Stuttgart : Heinz, 2007. http://d-nb.info/98800609X/04.

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22

Hermann, Ruth. « Im Zwischenraum zwischen Welt und Spielzeug : eine Poetik der Kindheit bei Rilke / ». Würzburg : Königshausen & ; Neumann, 2001. http://catalogue.bnf.fr/ark:/12148/cb38841389b.

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23

Tang, Ji-Ming. « Fenster-Geschichten die Bedeutung des Fensters bei Rilke und ausgewählten anderen Autoren ». Kassel Kassel Univ. Press, 2008. http://d-nb.info/1000002500/04.

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24

Rzepa, Joanna M. « Literary and theological modernisms : Rainer Maria Rilke, T.S. Eliot, and Józef Wittlin ». Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/67635/.

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My thesis investigates the relationship between literary modernism and modernist theology, discussing the poetry of Rainer Maria Rilke, T. S. Eliot, and Józef Wittlin in the context of the theological debates of the late nineteenth and early twentieth centuries. I aim to establish parallels between contemporary theologians’ and religious thinkers’ attempts to rethink Christianity’s place in modernity and the poetic explorations of similar issues in the works of Rilke, Eliot, and Wittlin. The first chapter of my thesis discusses the debates surrounding the so-called ‘Modernist crisis’ in the Roman Catholic Church, in which two different visions of Catholicism – the neo-scholastic orthodoxy and the progressive Modernism – came into conflict. In the following years, similar disputes took place in the Church of England and the American Presbyterian Church. Thinkers associated with the ‘Modernist’ understanding of Christianity considered it necessary to develop a new apologetic that would be capable of responding to contemporary philosophy and recent developments in psychology and science. They drew attention to the value of personal experience and individual conscience, began reclaiming the mystical traditions of the past, and became increasingly interested in the psychology of religious experience. In the three literary chapters of my thesis, I argue that the reconceptualisation of the relationship between the religious experience of contemporary Christians and the inherited doctrinal tradition – central to Modernist theologians’ attempts to reconcile Christianity with the critical project of modernity – is also at the heart of the poetic projects of Rilke, Eliot, and Wittlin. I argue that Rilke’s engagement with Orthodox iconography, Eliot’s investment in the search for the meaning of mystical experience and its relation to Christian dogma, and Wittlin’s reinterpretation of traditional hagiography are all attempts at reinterpreting medieval Christian traditions and reconceptualising their place in modernity. Their parallel poetic explorations of the relationship between Christianity and modernity, I argue, demonstrate the existence of a complex network of interactions and exchanges between theological and cultural modernisms of the late nineteenth and early twentieth centuries.
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25

Fritz, Barbara. « Rainer Maria Rilkes Leser in Schule und Gesellschaft Rezeption 1904 - 1936 ». Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2008. http://d-nb.info/993868541/04.

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Alberti, Olympia. « De l'être à soi ou l'épistolarité et la création chez Rainer Maria Rilke ». Nice, 1995. http://www.theses.fr/1995NICE2019.

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Fondée sur l'oeuvre poétique, romanesque et la correspondance intégrale de Rilke, la recherche pose d'abord la problématique de l'écriture épistolaire, et montre en premier lieu la trajectoire, chez Rilke, de "l'écrire à l'autre" comme le jeu apparent d'une dualité entre l'être et le monde (le moi et l'autre). On étudie ensuite la lettre comme mode de vie rilkéen privilégié (écrire, c'est vivre), puis comme multiple espace de réflexion sur la création, et une fois la lettre devenue oeuvre plénière, il apparaît que l'acte épistolaire repose sur un véritable mouvement vers soi, puis, avec l'oubli de la partition entre l'autre et le moi, sur une authentique trajectoire créatrice vers le soi. (De nombreux correspondants interviennent, dont Lou Andreas-Salomé, Marina Tsvetaieva, et Boris Pasternak)
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)
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Riemer, Jessica. « Rilkes Frühwerk in der Musik rezeptionsgeschichtliche Untersuchungen zur Todesthematik ». Heidelberg Winter, 2009. http://d-nb.info/1000498921/04.

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Kisseleva, Alexandra. « Das Prosagedicht und die allgemeine Theorie der literarischen Gattungen eine Studie zu ausgewählten Werken R. M. Rilkes ». Stuttgart Heinz, 2006. http://d-nb.info/98800609X/04.

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Park, MiRi. « Jeseits der Referenz ? Ästhetik und Poetik der Abstraktion im mittleren Werk R. M. Rilkes ("Auguste Rodin" ; "Briefe über Cézanne" ; "Neue Gedichte") ». München M-Press Meidenbauer, 2007. http://d-nb.info/988347970/04.

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Magnússon, Gísli. « Dichtung als Erfahrungsmetaphysik esoterische und okkultistische Metaphysik bei R. M. Rilke ». Würzburg Königshausen & ; Neumann, 2008. http://d-nb.info/991846958/04.

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31

Pasewalck, Silke. « "Die fünffingrige Hand" : die Bedeutung der sinnlichen Wahrnehmung beim späten Rilke / ». Berlin ; New York : W. de Gruyter, 2002. http://catalogue.bnf.fr/ark:/12148/cb38962211z.

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Hutchinson, Ben. « 'Poetry as process' : the poetics of becoming in Rainer Maria Rilke 1893-1908 ». Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404788.

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Sutherland, Marielle Jane. « Refiguring death : the poetics of tanscience in the work of Rainer Maria Rilke ». Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406650.

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Cushman, Jenifer Suzanne. « Unorthodox Icons : Russian Avant-Garde Impulses in The Works of Rainer Maria Rilke / ». The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487933648649157.

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Ariedi, Germana <1956&gt. « La fulgida bellezza della parola poetica in Etty Hillesum e Rainer Maria Rilke ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12071.

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Ariedi Germana matricola n. 821232 Titolo tesi: L’amore nelle parole ABSTRACT Ci sono esperienze talmente belle , profonde, totalizzanti, per cui molto spesso, non si riescono a trovare le parole, i modi giusti per poterle esprimere: il pittore non riesce a dipingere, il poeta non riesce a scrivere, lo scrittore non riesce a narrare. Servirebbe un qualcosa in più, un qualcosa che non si possiede: i mezzi a disposizione sono poveri, insufficienti ; la meraviglia è più grande , lo stupore si perde nell’infinità dello spazio senza tempo , spazio infinito . Quanti grandi poeti hanno cercato, dove non si poteva o non si doveva cercare, le parole, quelle veramente giuste per narrare , per testimoniare quel loro istante di assoluto, d’infinito. Perché nelle parole , in una sola parola, ci può essere l’infinito di un pensiero che non termina, di un pensiero che si espande dal buio più assoluto, alla luce più accecante. Il poeta diventa interprete universale, diventa sé stesso, diventa l’altro, diventa tutti. Diventa anche il non poeta, diventa infine anche quella ragazza che cerca, nelle parole, l’amore per poter esprimere quello che, con tutta se stessa, vede, sente, tocca, immagina per poter continuare a vivere in un campo, dapprima di transito e poi di sterminio. E’ qui che si intrecciano il poeta e la ragazza: per anni lei ispirerà e motiverà le sue azioni sui suoi insegnamenti; lui non la conoscerà mai, ma vivrà nei suoi pensieri e nelle sue azioni: questa è l’immortalità dei poeti, per sempre in ogni dove, loro ci sono. Il poeta e la ragazza sono Rainer Maria Rilke ed Etty Hillesum , uniti nella ricerca dell’amore nelle parole. Su questa traccia e sulla loro ricerca interiore, verterà la mia relazione: un percorso poetico-etico-spirituale che darà la possibilità di immergerci in quel pensiero-dono-illuminazione, che solo alcuni hanno la capacità di riconoscere ed esprimere. Nella seconda parte, verrà esaminato il percorso intrapreso da alcuni poeti per poter essere testimoni del loro vissuto, in opposizione ad un mondo, che desiderava cadere nell’oblio del non ricordo. Nell’ultima parte svilupperò , seppur in una sintesi, il rapporto tra poesia e filosofia, ed il loro convivere nella lunga storia del linguaggio.
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Winkelvoss, Karine. « Image et écriture : arts visuels et réflexion poétique chez Rilke ». Paris 3, 2001. http://www.theses.fr/2001PA030158.

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Oeuvre de la vision est faite, fais maintenant oeuvre de coeur. Ce tournant formulé en 1914 a pu suggérer que l'oeuvre de Rilke se divisait en une poétique du visible, de l'apprendre à voir, du regard "objectif" marqué par le modèle des arts visuels (notamment Rodin et Cézanne), et une poétique de la pure intériorité, détournée du visible et dans laquelle la référence aux arts visuels serait abandonnée. Pourtant, la notion centrale de figure ne se réduit ni à la simple imitation du visible que suggère le terme de "figuratif", ni à son abandon dans une figure poétique avisuelle qui relèverait, soit d'un discours philosophique (l'image réduite à l'idée), soit d'une logique formaliste (l'image réduite au simple jeu du signifiant). La figure chez Rilke relève bien plutôt d'un travail de la figurabilité (Darstellbarkeit) ; ce concept freudien permet de comprendre la défiguration comme constitutive de la figuration et de soustraire la figure à l'alternative du "figuratif" et du "non-figuratif", abusivement appliquée à l'oeuvre de Rilke comme à la peinture de la même é^poque. .
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
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Fong, Ho-yin Ian. « The return of the feminine Nietzsche, Freud, Rilke / ». Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38731423.

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Nelson, Erika Martina. « Reading and re-presenting Rilke : Orphic identity and poetic invention / ». Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008405.

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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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Dekadenz, Literarische. « Denkfiguren und poetische Konstellationen bei Thomas Mann, Hugo von Hofmannsthal und Rainer Maria Rilke ». Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508419.

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Rösch, Perdita. « Die Hermeneutik des Boten der Engel als Denkfigur bei Paul Klee und Rainer Maria Rilke ». Paderborn München Fink, 2006. http://d-nb.info/98860423X/04.

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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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Ritter, Ina. « Die Epiphanie des Augenblicks Wahrnehmung und Projektion bei Rainer Maria Rilke und Jens Peter Jacobsen ». Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/99243128X/04.

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O-Nils, Franke Katarina. « Rilke in Übersetzungen : Eine kontrastive Ubersetzungsanalyse des Gedichtes ,,Der Panther" von Rainer Maria Rilke und der schwedischen .. Ubersetzung ,,Pantern" von Johannes Edfelt ». Thesis, Uppsala universitet, Institutionen för moderna språk, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-439742.

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Carré, Martine. « Les "Élégies de Duino " ou la quête de la totalité ». Paris 3, 1994. http://www.theses.fr/1995PA030076.

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Cette étude se propose d'approcher les "Elégies de Duino" sous l'angle de leur travail d'écriture. Elle suit d'abord la direction indiquée par le titre : celle de la plainte. Elle conclut à la désespérance d'un sujet ne connaissant de la temporalité que les aspects négatifs et vivant sur le mode de la nostalgie dans la conscience aigüe du moment qui fut pour lui décisif : celui du renversement catastrophique opéré par la "conscience dialectique" de l'homme. Forte de cette découverte, la lecture se réoriente à la lumière des contradictions de la "Quatrième Elégie". A l'acmé de la déploration, elle découvre le désir qui inscrit, lui, le texte dans le sens de la progression. Un renversement second s'opère alors. Il est redressement salvateur et inscrit l'homme dans son sens : celui de la loi dynamique et féconde du processus. Le texte s'avère champ de forces, son enjeu : la quête de la totalité toujours partielle d'un sujet vivant maintenant dans un présent toujours plus riche du passé. La métamorphose apparaît comme lieu privilégié de cette entreprise de totalisation. La lecture n'a plus qu'à repenser le cycle en se demandant s'il réalise cette métamorphose, si dans l'instant privilégié de sa rédaction, il pose lui-même la totalité du genre dans lequel il déclare s'inscrire. Cette réflexion conduit à une prise en compte de l'histoire du cycle, elle même. Ayant découvert le processus comme enjeu et "moyens" du poème, elle le découvre active dans sa genèse même. Le travail se démarque ainsi de certaines analyses réduisant l'oeuvre rilkéen à une seule structure anhistoriquement prise en charge par la parole poétique
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
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Fuchs, Britta A. « Poetologie elegischen Sprechens das lyrische Ich und der Engel in Rilkes "Duineser Elegien" ». Würzburg Königshausen & ; Neumann, 2008. http://d-nb.info/991845005/04.

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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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Conquer, Grace Beatrice Rey Lawson. « The poetics of colour in Stefan George, Rainer Maria Rilke, Wassily Kandinsky and Else Lasker-Schüler ». Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:de16361d-e146-494f-beb4-15703c880e9d.

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This thesis looks at the poetics of colour in Stefan George, Rainer Maria Rilke, Wassily Kandinsky and Else Lasker-Schüler. It argues that focusing on colour words allows us to think more carefully about the sort of making that poetry, around the turn of the twentieth century, was seen to be, its purpose and effects. In doing so it thinks also about this making-about the ways that words can be seen as the material of poetry, the ways poems relate to objects, and are objects, the ways poets negotiate semantic space and communicability. While other accounts argue for the specificity of a particular period, author, or hue, I argue for the specificity of the medium, a conclusion which seems necessary when considering how these particular poets thought about and through colour. While the poets' projects differ, colour can be used in each case like a prism, to separate out their attitudes and commitments towards their medium and its place in the world. The combination of these four poets, which is, to the best of my knowledge, unique, also allows new connections to be seen, whether, facing inward, in terms of colour itself, or outward towards the commitments regarding the poem that an approach via colour exposes. The four poets share an interest in the involvement, and in some cases, aesthetic education, of readers, and in how and what we can learn through reading, and particularly reading colour. What we learn has less to do with colours and how they are experienced than to do with the constructed world of the poem and its mechanisms, and of the role we have to play in animating this world.
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Happ, Julia Stephanie. « Literarische Dekadenz : Denkfiguren und poetische Konstellationen bei Thomas Mann, Hugo von Hofmannsthal und Rainer Maria Rilke ». Thesis, University of Oxford, 2009. https://ora.ox.ac.uk/objects/uuid:bb5baef5-de44-499c-a246-b609a3f0caff.

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My D.Phil, dissertation sheds new light on German literary decadence around 1900, its universal concepts, plurality of discourses and poetic transformations. The heuristic value of my dissertation is a refined differentiation of Dekadenz which reconstructs the literary history of the concept and for the first time proposes specific poetic constellations. In chapter 1, decadence is reviewed with its rich research heritage and introduced as a decisive concept and discourse of aesthetic modernism. Although much has been written on decadence, the concept is clearly in need of scholarly reconsideration. I argue that decadence is not only a vague epochal construct and an ensemble of motifs, but also encompasses discourses, universal concepts and a versatile literary style. In view of the stylistic eclecticism around 1900, I argue that decadence is a dynamic and malleable concept which can be combined with other aesthetic styles, movements and philosophical contexts depending on the specific author. Chapter 2 contextualizes Dekadenz from its etymology and central discourses to its universal concepts. Etymologically derived from the Latin verb de-cadere decadence signifies a downward movement and a figure of fragmentation. It evokes cultural and political decline especially that of the Roman Empire (décadence romaine) and undergoes various aesthetic transformations (1857-1894). After touching upon the precursors Baudelaire (1857), Bourget (1883) and Bahr (1889-1894), I dwell on Nietzsche to demonstrate the philosophically complex German double evaluation of decadence. I derive three universal concepts from Nietzsche (health vs. sickness, endings vs. new beginnings, fragmentation vs. wholeness) which are crucial to my literary analysis. My comprehensive literary analysis centers on three specific poetic constellations of decadence between late realism and aesthetic modernism. Chapter 3 illuminates Mann's spätrealistische Dekadenz (1894-1924) with his (Nietzschean) double evaluations. Transformations of decadence are shown in his early novellas, Buddenbrooks, Der Tod in Venedig and Der Zauberberg. Chapter 4 illustrates Hofmannsthal's ästhetizistische Dekadenz (1891-1902) in his early essays, his prose fragment Age of Innocence and Das Märchen der 672. Nacht. A significant transformation of decadence is illuminated in Ein Brief (1902), where Nietzschean decadence is concentrated and tentatively overturned. In chapter 5, Rilke's modernistische Dekadenz (1898-1910) is shown from his early fragment Ewald Tragy to his only novel Die Aufzeichnungen des Malte Laurids Brigge. His novel attempts a poetic 'revaluation of all values' and culminates in the emergence of a genuinely modernist decadence.
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Grelz, Karin. « Beyond the noise of time : readings of Marina Tsvetaeva's memories of childhood / ». Stockholm : Almqvist och Wiksell International, 2004. http://books.google.com/books?id=_jdgAAAAMAAJ.

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