Made available in DSpace on 2014-12-17T15:12:15Z (GMT). No. of bitstreams: 1 AlanML_DISSERT.pdf: 720079 bytes, checksum: eb15983670521e088254579d404daecd (MD5) Previous issue date: 2010-04-15 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The thinking dialog between Heidegger s philosophy and the poetry of H?lderlin and Rilke must be dealt in language s domains. The difficulty to establish this dialog comes from the man in itself, unable to think out of the understructure of science and the modern technique. The poetic language was forgotten or ignored, turning itself obsolete in front of improvements and resources of the technique. Heidegger searches the essences to the poetry so may it be comprehended in its plenitude for the man. Technique, poetry and existence must be pronounced and investigated so the being shows itself again. To Heidegger, the man lives in a period of uncertainty due finding himself at the sunset of age. The uncertainty generates the poverty and the night of world represents the absence of god and original truth. Only with the fundamental comprehension of poetry, the man of today can project himself to the future not anymore as technique product, but with freedom to choose. The message of poetry of H?lderlin and Rilke, according to Heidegger s interpretation, transmits an alert to the contemporary man against the coming danger in his maintained relation with nature. The purpose of the following work is to build this thinking dialog, without disfigure the poetry, but taking approach over its essence, so from there to remove its true existential value. / O di?logo pensante entre a filosofia de Heidegger e a poesia de H?lderlin e Rilke deve ser travado nos dom?nios da linguagem. A dificuldade em estabelecer esse di?logo vem do pr?prio homem, incapaz de pensar fora do arcabou?o da ci?ncia e da t?cnica moderna. A linguagem po?tica foi esquecida ou ignorada, tornando-se obsoleta diante das facilidades e recursos da t?cnica. Heidegger busca as ess?ncias para que a poesia possa ser compreendida em sua plenitude pelo homem. T?cnica, poesia e exist?ncia devem ser pronunciadas e investigadas para que o ser se apresente novamente. Para Heidegger, o homem vive em um per?odo de incertezas por se encontrar no entardecer de uma era (Sunset of Age). A incerteza gera a pen?ria e a noite do mundo representa a aus?ncia de Deus e das verdades origin?rias. Apenas com a compreens?o fundamental da poesia, o homem de hoje pode se projetar ao futuro n?o mais como produto da t?cnica, mas com liberdade para escolher. A mensagem da poesia de H?lderlin e Rilke, segundo a interpreta??o de Heidegger, transmite um alerta ao homem contempor?neo acerca do perigo vigente na rela??o que ele mant?m com a natureza. O objetivo do seguinte trabalho ? construir esse di?logo pensante, sem desfigurar a poesia, mas indo de encontro ? sua ess?ncia, para de l? retirar seu verdadeiro valor existencial.

This dissertation examines how transgender feelings and gender variation emerged as a vital motivator for scientific and aesthetic explorations of human personhood and social experiences of marginality in German-speaking culture in the early twentieth century. My research illustrates how concepts of gender variation served as a generative problem for modernist practitioners of sexual science and as a creative impulse and figural resource for modernist literary and artistic innovations. The feedback between these fields allowed for novel social categories to develop in a period where designations like “transgender” or “transsexual” were not yet in use as stable public identities or diagnoses, but nevertheless circulated in response to experiences of embodied difference and social alienation. By reading for “transgender feeling” as a heuristic that unites multiple historical categories of gender and sexual variation, I argue that transgender phenomena were instrumental for the development of German modernist movements at large. Building on affect studies, trans and queer studies, and German literary and cultural studies, my project intervenes in limited contemporary understandings of transgender history and identity as a minority political and diagnostic discourse. Instead, I argue for a more expansive, “democratized” notion of transgender feeling that encompasses diverse historical forms of gender variation, some of which have disappeared or become “obsolete,” and show how narratives of gender intermediacy and incongruence are essential to modernist aesthetic practices. Chapter One examines theories of sexual intermediacy in the sexological work of Magnus Hirschfeld and Otto Weininger, who both suggested that a transgender condition underlies “normal” human sexual development. I show that trans feelings cut across Hirschfeld’s sexological categories and, in particular, his deployment of the case genre, troubling stable taxonomies of sexual affect and allowing for promising forms of coauthorship and “trans genre writing” to emerge in sexology. Chapter Two takes up Rainer Maria Rilke’s writing in The Notebooks of Malte Laurids Brigge and Das Stunden-Buch, as well as his early childhood experience, to argue that dysphoria and intermediacy are key to understanding the social alienation that Rilke expressed in his modernist work alongside personal attachments to femininity and a feminine poetic voice. Chapter Three on Else Lasker-Schüler illustrates how trans feelings, the masculine persona of Jussuf and appropriations of racial and ethnic difference significantly frame the novel Mein Herz and become enduring features of Lasker-Schüler’s literary and artistic production. I highlight how scholarly reception of Rilke and Lasker-Schüler’s work have intentionally disavowed these expressions as transgender and argue for a reassessment of trans feeling as a creative impulse in German modernism through their texts and images. My last chapter explores how modernist periodical media served as a vital tool for crafting trans intimate publics in the Weimar period and for negotiating the shared norms of gender and social participation for a novel class of gender-variant people under the category of transvestism. In my conclusion, I turn to the unfinished business of sexual and gender definition that continues to frame LGBTQ politics in Germany and abroad today, and I link contemporary questions of trans aesthetics to modernist dynamics of gender and sexual multiplicity.

Submitted by Cleide Dantas (cleidedantas@ufpa.br) on 2014-10-02T14:08:50Z No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_UniversalidadePoeticaRilke.pdf: 5128603 bytes, checksum: 5811ed90abc0e5d4876b75dbf219634a (MD5) / Approved for entry into archive by Ana Rosa Silva (arosa@ufpa.br) on 2014-10-07T16:38:50Z (GMT) No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_UniversalidadePoeticaRilke.pdf: 5128603 bytes, checksum: 5811ed90abc0e5d4876b75dbf219634a (MD5) / Made available in DSpace on 2014-10-07T16:38:50Z (GMT). No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_UniversalidadePoeticaRilke.pdf: 5128603 bytes, checksum: 5811ed90abc0e5d4876b75dbf219634a (MD5) Previous issue date: 2014 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação objetiva pensar os desdobramentos que as traduções da poesia de Rainer Maria Rilke alcançaram no cenário do Suplemento Literário da Folha do Norte - SL/FN e em outros periódicos das décadas de 1940 e 1950, em que foram publicadas. Consideramos que estas traduções foram um indício de intensificação da abertura universalizante das letras paraenses às novidades modernistas iniciadas na Semana de Arte Moderna de 1922. Tais traduções foram cruciais para a formação do Grupo dos Novos, composto principalmente de nomes como Benedito Nunes, Mário Faustino e Paulo Plinio Abreu, além do antropólogo alemão Peter Paul Hilbert. O suporte teórico-metodológico será a utilização dos conceitos de Weltliteratur (Literatura universal) de Goethe e Reflexionsmedium (Médium-de-reflexão) de Benjamin. Estas matrizes interligarão os campos da história, da filosofia da linguagem e da tradução para refletirmos sobre o impacto dessas traduções na Amazônia brasileira da época. Outro conceito importante nesta dissertação é o de Bildung (formação), pensado a partir da leitura de Antoine Berman quando ele o relaciona à tradução, incluindo vários fenômenos que envolvem as relações tradutórias entre culturas e línguas. Ao final, por meio da reflexão tradutológica de Haroldo de Campos, visamos observar possíveis confluências nas produções poéticas e críticas de Mário Faustino, Manuel Bandeira e Paulo Plínio Abreu, como resultante do processo relacional promovido por estas traduções. / The purpose of this Master's thesis is to identify how translations of Rilke's poetry were relevant in the scenario had been published, on magazine “Suplemento Literário da Folha do Norte” - SL/FN and others. We believe that these translations were indicative of a rise in the process of literary universalization on “Pará”, to innovations of Modern Art Week, 1922. These translations were crucial to the literary formation of “Grupo dos Novos”, which was composed by Benedito Nunes, Mário Faustino, Plinio Paulo Abreu and others in addition to the German anthropologist Peter Paul Hilbert. For this work we explore the concepts of Weltliteratur by Goethe and Reflexionsmedium by Benjamin. We also use the concept of Bildung, from the reading of Antoine Berman, which relates it to the translation. These concepts will link to history, philosophy of language and translation in order to reflect the impact of these translations in the Brazilian Amazon, at the time they were made. Through the translation theory of Haroldo de Campos, we aim to investigate possible confluences in poetic productions and criticism by Mario Faustino, Manuel Bandeira and Paulo Plínio Abreu as a result of the relationship between the work of these poets and Rilke, promoted through these translations.

This dissertation contains five chapters: 1. Introduction, 2. Basic Digital Processing Used in Summer Rain, 3. Part I Summer Rain - Dawn, 4. Part II After the Summer Rain and 5. Conclusion. Introduction contains a brief historical background of musique concrète, Electronische Musik, acousmatic music and music for instruments and tape, followed by basic descriptions of digital technique used in both parts of Summer Rain in Chapter 2. Also Chapter 2 describes software used in Summer Rain including "Kawamoto's VST," which is based on MAX/MSP, to create new sounds from the recorded samples using a Macintosh computer. In both Chapter 3 and 4, Kawamoto discusses a great deal of the pre-compositional stage of each piece including inspirational sources, especially Rainer Maria Rilke's poems and Olidon Redon's paintings, as well as her visual and sound imageries. In addition Chapter 3 she talks about sound sources, pitch, form and soundscape. Chapter 4 contains analysis on pitch in the piano part, rhythm, form and the general performance practice. Chapter 5 is a short conclusion of her aesthetics regarding Summer Rain, which is connected to literature, visual art and her Japanese cultural background.

The thesis treats the subject of how the work of Max Picard, Rainer Maria Rilke and Jan Zahradníček relate. Its unifying element is the motif of salvation, its negative and positive aspect. Picard, Rilke, and Zahradníček perceive the world overfilled with technology and become witnesses of dehumanisation of humans and the related destruction of speech. Their work mirrors this decomposition, but it alongside offers a positive counter movement, an alternative to the age of dominion of technology. A comparative analysis of the specific understanding of the two aspects of salvation also casts light on the reception of Max Picard in their work. The first part deals with the analysis of Heidegger's essence (Wesen) of modern technology (Gestell) and the possibility of alternative revealing (poiésis). It renders the transformation of a human beings and their relationship to things, a transformation diagnosed by Picard, Rilke, and Zahradníček in their work. It thus proposes a context for the observed motif of salvation. The introduction of the first part accounts for a treatise on the loss of a thing which is linked to the penetration of technology and on salvation consisting in paying heed to the inconspicuous state of affairs. The second part opens with the reception of Picard's book Hilter in Our Selves...

In his “Letter on Humanism,” Martin Heidegger conveys the importance he attributes to poetry when he states: “Language is the house of being” (“Letter” 239). In response to his early Jesuit education, he developed a secular alternative to theology with his existential phenomenology. Theology, poetry, and phenomenology share the basic concern of explaining the foundations of being. For Heidegger, ownership characterizes being in a fundamental way; in Contributions to Philosophy (From Enowning), he establishes the “Ereignis” (“event of appropriation”) as the foundation of being. Ownership lies at the core of being in his thinking following Being and Time. Yet his philosophy ignores the material circumstances of ownership. By way of a materialist critique of Heidegger’s Idealist phenomenology, I expose how property-relations are encoded in the modern poetry and philosophy of dwelling with the question: who owns the house of being? The answer lies in “self-possession,” which represents historical subjectivity as the struggle for the means of production. Paul Celan, T. S. Eliot, Rainer Maria Rilke, and Paul Valéry are all poets who address the relationship between being and ownership in expressing what Marx and Engels call the “language of real life” in The German Ideology (26). In 1927, Eliot converted to Anglicanism and found solace in the realm of faith; by opting for the theology of dispossession, he surrendered his historical subjectivity. Rilke thought that he could find refuge from the marketplace in aesthetic beauty and pure philosophy but eventually disabused himself of his illusion. Similarly, Valéry sought refuge in the space of thought; basing reality in the mind, he forsook the social realm as the site of contestation for gaining ownership over being. As a poet who distinguished himself from the Idealism of his predecessors, Celan developed a structure of dialogue based upon shared exchange on common ground. A materialist approach to the poetry and philosophy of dwelling exposes property-relations as the foundation of the house of being.

In his “Letter on Humanism,” Martin Heidegger conveys the importance he attributes to poetry when he states: “Language is the house of being” (“Letter” 239). In response to his early Jesuit education, he developed a secular alternative to theology with his existential phenomenology. Theology, poetry, and phenomenology share the basic concern of explaining the foundations of being. For Heidegger, ownership characterizes being in a fundamental way; in Contributions to Philosophy (From Enowning), he establishes the “Ereignis” (“event of appropriation”) as the foundation of being. Ownership lies at the core of being in his thinking following Being and Time. Yet his philosophy ignores the material circumstances of ownership. By way of a materialist critique of Heidegger’s Idealist phenomenology, I expose how property-relations are encoded in the modern poetry and philosophy of dwelling with the question: who owns the house of being? The answer lies in “self-possession,” which represents historical subjectivity as the struggle for the means of production. Paul Celan, T. S. Eliot, Rainer Maria Rilke, and Paul Valéry are all poets who address the relationship between being and ownership in expressing what Marx and Engels call the “language of real life” in The German Ideology (26). In 1927, Eliot converted to Anglicanism and found solace in the realm of faith; by opting for the theology of dispossession, he surrendered his historical subjectivity. Rilke thought that he could find refuge from the marketplace in aesthetic beauty and pure philosophy but eventually disabused himself of his illusion. Similarly, Valéry sought refuge in the space of thought; basing reality in the mind, he forsook the social realm as the site of contestation for gaining ownership over being. As a poet who distinguished himself from the Idealism of his predecessors, Celan developed a structure of dialogue based upon shared exchange on common ground. A materialist approach to the poetry and philosophy of dwelling exposes property-relations as the foundation of the house of being.

The scores here collected represent all the music heard in the recital of 3 April, 1995 (programme on p. iii), save "Shimmering Reflections on a Dark Carrall Street Night." This is an electroacoustic piece which does, however, appear on the accompanying recording.

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

Thesis (D. Min.)--San Francisco Theological Seminary, 1992. / Includes 90 original poems by the author. Includes bibliographical references (p. 218-225).