Inaug. _ Diss.: Philosophische Fakultät: Zürich: 1976. _ Bibliogr. p. 164-166.

Angeregt durch das Gedicht „Ich kreise urn Gott" im ersten Teil des „Stunden-Buches", in welchem Rilke ausdrückt, dass er Gott suche, aber noch nicht wisse, ob er bei Ihm Zuflucht nehmen, seinen Begriff von Ihm zerstören oder Ihn preisen werde, hat der Verfasser dieser Arbeit es sich zur Aufgabe gemacht, Das Stunden-Buch im Hinblick auf Rilkes Gottessuche zu studieren urn herauszufinden, auf welche Bahnen und zu welchen Ergebnissen diese Suche den Dichter geführt hat. Im ersten Kapitel werden die Faktoren aufgezeigt, die den jungen Rilke zu seiner Auseinandersetzung mit Gott geführt sowie seine besonderen Gedanken hinsichtlich dieser Auseinandersetzung mitgeformt haben mögen. Als Faktoren, die ihn zu einer Auseinandersetzung mit der Gottesfrage gelenkt haben, sind jene Zeitströmungen ange-sehen worden, die sich gegen den materialistisch-positivisti-schen Geist des ausgehenden 19. Jahrhunderts, in dem der junge Rilke lebte, wandten, und eine „Rückwendung zum Irrationalen, zur Metaphysik, zur Seele, zu Mystik und Mythos" mit sich brachten.¹ An Beispielen von Hofmannsthals und Georges Werk sind Grundhaltungen dieser Strömungen veranschaulicht worden. Als weiterer Faktor ist Rilkes widerspruchsvolle Erziehung angesehen worden, die einerseits in einer femininen, verweichlichten, religiösen Scheinwelt, andererseits in einer männlichen, straffen, militarischen Tatwelt stattfand und aus dem übersensiblen Kinde einen unsicheren, verwirrten Menschen machte, der sich nach einer „ruhigen Mitte" sehnte und diese in Gott zu finden hoffte. Unter den Faktoren, die Rilkes Gedankengänge in Bezug auf seine Gottessuche beeinflusst haben, sind Maeterlincks Voreingenommenheit mit der Gottessuche, seine mystische Welt-schau, sowie sein Glaube an die Sonderstellung des Dichters gesehen worden. Ferner sind Jacobsens entwicklungsgeschichtliche Gottesvorstellung, seine unorthodoxe Haltung dem Christentum gegenüber und seine Verherrlichung des individuellen Lebens und Todes, sowie Nietzsches Apotheose des „Übermenschen" und „Vergöttlichung des Lebens" als beeinflussende Faktoren erörtert worden. In den folgenden drei Kapiteln werden die drei Teile des „Stunden-Buches" getrennt in Hinsicht auf den Gehalt der Gottessuche besprochen. Da die verschiedenen Erlebniswelten, die während der Entstehung eines jeden Teiles auf Rilke einwirkten, die Art seiner Gottessuche aufs stärkste beeinflussten, ist jeder Teil des ,,Stunden-Buches" in Verbindung mit dem jeweiligen Kernerlebnis erörtert worden: „Das Buch vom mönchischen Leben" mit Rilkes Russland-Reise, „Das Buch von der Pilgerschaft" mit seinen Lebensverhältnissen vom Herbst 1899 bis zum Herbst 1901, und „Das Buch von der Armut und vom Tode" mit seinem Aufenthalt in Paris. Im fünften Kapitel, in dem die Ergebnisse der Untersuchung zusammengefasst sind, wird darauf hingewiesen, dass Rilkes Auseinandersetzung mit der Gottesvorstellung seiner Kindheit und den aus verschiedenen anderen Quellen gespeisten Gottes-vorstellungen seines Jünglingsalters ihn zu keinem einheitlichen Gottesbild führten. Ferner wird festgestellt, dass Rilke den drei Möglichkeiten, die er hinsichtlich seines Gottesverhältnisses in dem zu Anfang erwähnten Gedicht aus-sprach, seltsamerweise Rechenschaft trug. In der Vorstellung des „werdenden Gottes" fand er zeitweise Zuflucht, das Bild des orthodox-christlichen Gottes zerstörte er, und einen pantheistischen Gott beabsichtigte er auf dem Weg über das „Ding" zu preisen. Und schliesslich wird in diesem Kapitel darauf hingewiesen, dass obwohl Rilke an keiner eindeutigen Gottesvorstellung anlangte, seine Gottessuche dennoch zu einem Ergebnis führte. Sie brachte ihn nämlich, auch wenn er sich dessen zur Zeit nicht bewusst war, seiner wirklichen künstlerischen Berufung näher. Diese lag aber nicht in der Suche nach einer metaphysischen Begründung der menschlichen Existenz, sondern in der menschlichen Bewältigung des Daseins. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

No description available.

The impact of the visual arts upon Rilke's work is obvious and indisputable; it has been the subject of much detailed discussion and study and is now more or less taken for granted by Rilke's critics. This emphasis on the visual arts can, in part, be explained by the amount of material readily available: the Worpswede and Rodin monographs, for example, or the highly important Cezanne letters to Clara Rilke. Rilke did, after all, marry a sculptor and act for a while as secretary to Rodin. Perhaps because of this clearly acknowledged debt, the importance of music in Rilke's life and work has been largely overlooked, if not expressly denied. The early writers were fond of regarding Rilke as a Slav musician-poet; but more recent critics have, without more ado, proclaimed that Rilke was not in the least musical and that music never in any way influenced his poetry. One good example here is K.A.J. Batterby, the author of the most recent English study of Rilke, Rilke and France. K.A.J. Batterby states repeatedly that Rilke, unlike the French symbolists, whose writings meant so much to him, was interested exclusively in the representational arts; and, by wisely keeping away from music, he thus avoided the pitfall into which Mallarme fell. When, however, he comes to discuss the late verse, Batterby, like many other writers, realizes that music cannot be entirely disregarded; he therefore gets round the problem by explaining that Rilke, under the influence of Valery, who had studied the Symbolists' preoccupation with music, was suddenly enabled to make use of the true 'music' of his native German language. Those critics who have mentioned Rilke's contact with music have tended to assume that the only decisive experience was in 1914, the year of Rilke's meeting with Frau von Hattingberg, the reason for this being, presumably, the publication of her book Rilke und Benvenuta (which describes their meeting in that year), and, later, of her correspondence with Rilke. Such critics were therefore surprised to find Rilke expressing a marked interest in music in his letter of 1912 about the French scholar and musicologist, Fabre d'Olivet. Eudo C. Mason, however, has hinted that music helped to influence the changes of style in Rilke's poetry after the period of the Neue Gedichte and Malte Laurids Brigge, in the same way as the visual arts effected the changes of style between the StundenBuch and the Neue Gedichte. Indeed, Rilke himself indicated this. There has been only one published study of Rilke's relationship with music: Clara Magr's Rainer Maria Rilke und die Musik. As the author herself states, this work is aimed, not at the Rilke-scholars, but at the Rilke-lovers; she therefore devotes a considerable amount of space to the external details of his life, and quotes all the poems on music in full. She is chiefly concerned to bring together chronologically what she regards as all the available material, without subjecting it to detailed scrutiny. Quite rightly, she stresses the dispersed and fragmentary state of the available material - doubtless the main reason why no attempt at a more minute study of the subject has been made. Clara Magr deals almost exclusively with Rilke's practical attitude to actual music. It is, however, his theoretical idea of music that is most important. His idea of music fits a symbol, and the frequent fluctuations and refinements of that idea played a significant part in his theory of art in general and in the development of the language of his late poetry in particular: the 'Bezug' that prevails in the mature verse certainly owes something to his thoughts on musical form. Each of the two parts of the Neue Gedichte begins, significantly, with a poem to Apollo, god of the visual arts; the Orpheus of the Sonette is at once the god of poetry and of music. This thesis aims at showing that Rilke's contact with music, though not so marked, not so immediately fruitful as his contact with the representational arts, was, nevertheless, highly significant. By doing so, it touches upon common misconceptions concerning the relationship between poetry and music, misconceptions which have caused some critics to see the late verse as 'musical', others as decidedly 'unmusical', and hopes to illuminate Rilke's own idea of the relationship between the two arts.

Not available / text

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

No description available.

Ed. commerciale de thèse : Habilitationsschrift : Köln : 2000. / Bibliogr. p. [372]-393. Index.

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.

Made available in DSpace on 2016-04-27T17:27:04Z (GMT). No. of bitstreams: 1 Mathias de Abreu Lima Filho.pdf: 651942 bytes, checksum: 5aec5004514b77bb52b2eaf00712620e (MD5) Previous issue date: 2005-11-07 / The main purpose of this work is to set up a approach between Martin Heidegger s thought and Rainer Maria Rilkes s poetry, regarding what both conceive as Modernity s indigence , the situation of spiritual meaning emptiness in the contemporary man, in the post-Enlightenment and post-Industrial Revolution, age of growing hegemony s age of the science and technique. The authors mean, each one by his own way, that this contingency in the West history, does not result from circumstantial phenomena, but from the civilizing evolution of thinking, matrix of the way as today the man can look at, understand and live his reality today. The finishing of Metaphysics, pointed out by Heidegger as the forgetfullness of the being, through the power of technique, is the historical-philosophical substratum wich configures our destiny in this present time. This historial dimension, establishes for the man one specific order to deal with the life, exclusively objectal and determinist, wich prevents them for considering other horizons maybe more primordials of the human condition, like for instance, the love, the death and the indeterminate Open of the existence itself. Both authors, in retaking this indigence destiny, simultaneously beckon for a tourning move to another path wich can indicate man another glance of understanding towards life, a gesture wich could send us to an original ground. They catch a glimpse for the human destiny through the issues treated in their works, a knowledge and a saying different from those in effect in our techno-planetary reality. A knowledge alternative to the technique and calculations learning, able to think and receive the things of the world through listening, waiting and silence, beckoning for the meaning of a different destiny. And, a saying of a thought that resides near the poetry s song, being thus attentive to the world things permanent manifestation in the amplitude of the great Open of being / A intenção principal do trabalho é estabelecer uma aproximação entre o pensamento de Martin Heidegger e a poesia de Rainer Maria Rilke, no que tange ao que ambos concebem como indigência da Modernidade , a situação de vazio de sentido espiritual do homem contemporâneo, no pós-iluminismo e pós-revolução industrial, era de hegemonia crescente da ciência e da técnica. Entendem os autores, cada qual de modo próprio, que esta contingência na história do Ocidente, não decorre de fenômenos circunstanciais, porém da evolução civilizatória do pensamento, matriz do modo como hoje o homem pode olhar, compreender e viver sua realidade. O acabamento da Metafísica, apontado por Heidegger como o esquecimento do ser, através do poder da técnica, é o substrato histórico-filosófico que configura esse nosso atual destino. Esta dimensão historial determina para os homens uma forma própria de lidar com a vida, exclusivamente objetal e determinista, impedindo-os de considerar outros horizontes talvez mais primordiais da condição humana, como por exemplo, o amor, a morte e o próprio Aberto indeterminado da existência. Ambos os autores, retomando este destino de indigência, acenam simultaneamente para um movimento de viravolta , para um outro caminho que indique para o homem um outro olhar de compreensão para com a vida, gesto que pudesse nos remeter para um solo original. Eles vislumbram para o destino humano através dos temas abordados em suas obras, um saber e um dizer diferentes daqueles em vigor na nossa realidade tecno-planetária. Um saber alternativo ao conhecimento da técnica e do cálculo, que possa pensar e acolher as coisas do mundo na escuta, na espera e no silêncio, acenando para o sentido de um outro destino. E, um dizer de um pensamento que reside próximo do canto da poesia, sendo assim atento à manifestação permanente das coisas do mundo na amplitude do grande Aberto do ser