Diss.--Tübingen, 1988.

A review of the secondary literature written on Rilke’s poetry reveals that his earliest work has scarcely been dealt with. This fact is not astounding considering that the poet found literary acclaim only in his more mature period. In those cases, however, in which Rilke’s first poetry has been examined, it is approached outside the context of later developments. This paper is based on the thesis that a vital continuous thread which begins with Jugendstil and extends into his most mature poetry, runs through Rilke’s work as regards life style and art theory. Many of his most typical symbols - and he is a representative of the Symbolist movement -can be traced back to Jugendstil Angel, Love, Dancer and Death, for example. A thorough analysis of Rilke’s poetry cannot be undertaken without consideration of his early dependence upon Jugendstil especially because such symbols are newly interpreted Jugendstil themes. The aim of this paper is therefore the exploration of this dependence as exemplified in Rilke's early poetry, thus providing a basis from which a comprehensive interpretation of Rilke's person and work can be realized. As to the method of investigation: In order to show what exactly made Rilke a Jugendstil poet it was necessary to extend the subject matter examined to include not only his poetry and essays, but also statements made by him in letters and diaries and statements made about him by his acquaintances and to relate these to the cultural and intellectual history of the turn of the century and the Jugendstil tradition.

The topic of this thesis is the problem of love in the work and life of Rainer Maria Rilke, especially his notion of “non-possessive love” which has given rise to a great deal of controversy in the Rilke-Literature. The essential motive underlying the thesis is my concern for the relationship between art and life, and specifically the conflict between the demands of intellectual and spiritual development and the biological-social imperatives to which the artist, like all human beings, is subject. To speak in general terms, my interest in Rilke’s view of love is part of a broad study of alienated and rebellious individualists, bent on developing themselves at all costs in an environment which is hostile to their inner impulses, and for whom the problem of love has been a focal point of their conflict with themselves and the world. The view of love put forth by such individualists as Kierkegaard, Baudelaire, Nietzsche, Shaw, Unamuno, Camus, Sartre, - to name only a few authors mentioned in my bibliography – despite their many individual variations, have at least these characteristics in common: they are penetrating, uncompromising, unsentimental and disquieting. The same holds true for Rilke’s view of love. Rilke emphatically opposed the values implicit and explicit in the notions and practices of his culture in the areas of the relations between the sexes, the institution of marriage, the status of women and the function of sex in the life of the individual. Furthermore, his own experience, which, as he often pointed out, was by no means meant to be exemplary or typical, led him to investigate and reflect upon the nature of love as a principle of nature and of the human psyche. The fruit of this preoccupation was a fascinating, very complicated body of writings in which the problem of love plays a major role. In investigating this theme my primary aim has been to accurately represent and illuminate what Rilke meant by his provocative and often obscure statements about love; that is, it is first and foremost and interpretative paper.

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

The diploma thesis deals with two translations of Rilke's novel Die Aufzeichnungen des Malte Laurids Brigge. Each translation is not only conceived as a final product, but also as a communication process, influenced by a number of cultural and socio-political factors. The thesis therefore attempts to capture changes in Rilke's reception in relation to the literary paradigm and - with regards to the political situation - to the contemporary publisher policy, because during the period of socialism Rilke's work, which was highly valued in the thirties, came back into general awareness quite slowly in connection with the gradual liberation of cultural and political situation. The goal of the thesis is to map the problems of the translations' genesis with regards to the period and cultural environment and to the translators' poetic style. Part of the thesis addresses a translatological analysis, which is the base for defining both of the translators' methods.

Author's Thesis (doctoral)--Universität des Saarlandes, 1995. / Includes bibliographical references (p. 611-633) and index.

Orientador: Wescesláo Machado de Oliveira Junior / Título do DVD: As Lágrimas Amargas de Petra von Kant (FASSBINDER, 1972) / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-21T00:07:05Z (GMT). No. of bitstreams: 1 Pinto_BeatrizSampaio_M.pdf: 5747897 bytes, checksum: 5524678613b5b0a9be5cee22e28ed9e9 (MD5) Previous issue date: 2012 / Resumo: No filme "Lágrimas Amargas de Petra von Kant" (1972), do cineasta alemão Rainer Werner Fassbinder, o apartamento é um local narrativo mutante. As expectativas e os sentidos construídos pelo espectador serão deslocados pelos sentimentos de estabilidade e de instabilidade despertados pelo cenário. Interessa-nos a forma como a linguagem cinematográfica - associada intimamente ao teatro - transformará nossa referência espacial e nossa percepção narrativa. / Abstract: In the movie "Bitter Tears of Petra von Kant" (1972), the German filmmaker Rainer Werner Fassbinder, the apartment is a changing place narrative. Expectations and meanings constructed by the viewer will be moved by feelings of stability and instability awakened by the scenery. We are interested in how the cinematic language - closely associated with the theater - will transform our perception of spatial reference and narrative. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

The aim of this study is to examine some of the employees in the Church of Sweden and their knowledge and view on the concepts of tolerance, integration, assimilation and diversity. Besides that the study also examines if those employees motivate these concepts based on what I defined as Swedish values or confessional values. The study was done through submitted questionnaires from 26 employees within 15 parishes. To answer the survey's main questions, qualitative variables method was used that looked for variables and connections in the survey responses. Furthermore the study was based on the political philosopher Rainer Forst theory regarding tolerance. The analysis of the study shows that the 26 employees in the Church of Sweden have a high influence of Swedish values and/or Swedish legislation and low influences of confessional values in their answers. In addition to that the analysis also shows that 26 employees have lack of knowledge applicable concepts assimilation and integration. The analysis shows that the 26 employees have a partially similar view and knowledge regarding the concepts of diversity, tolerance and where they draw the line for tolerance. Lastly the 26 employees' view on tolerance according to the analysis gravitate towards the political philosopher Rainer Forst theory of tolerance as a respectful concept. The aim of the study has been to contribute to studies on the Church of Sweden's employees and their knowledge and view regarding contemporary concepts in order to provide an opportunity for increased knowledge within the subject. The study can also be used as a pilot study or a starting point for a more comprehensive survey of Church of Sweden's employees attitudes towards tolerance and diversity issues. / Sammanfattningsvis syftade uppsatsen till att undersöka vilken syn och kunskap anställda i ett antal församlingar i Svenska kyrkan har på begreppen tolerans, mångfald, assimilering och integration. Dessutom undersöktes det i uppsatsen om de anställda motiverade dessa begrepp utifrån vad jag definierade som svenska eller konfessionella värderingar. Undersökningen gjordes genom inskickade enkäter från 26 anställda inom 15 församlingar. För att besvara uppsatsens syfte och frågeställningarna så användes kvalitativa variabler som letade efter variabler och samband i enkätsvaren. Förutom detta så utgick uppsatsen från Rainer Forst teori gällande tolerans. Resultatet visar att de 26 anställda i Svenska kyrkan har höga genomslag av svenska värderingaroch/eller svensk lagstiftning, låga genomslag av konfessionell profil, att de möjligtvis är tveksamma, obeslutsamma, undrande eller osäkra gällande begreppen assimilering och integration och att de anställda har en delvis liknande syn och kunskap gällande begreppen mångfald, tolerans och vart de drar gränsen för tolerans. Synen på tolerans utifrån hur den analyserats i uppsatsen visar att de 26 anställda drar mot Rainer Forst teori “tolerans som respekterande koncept”. Trots detta så har vissa av de anställda ändå genomslag av “tolerans som tillstånd koncept”. Forskning framåt skulle därför kunna undersöka om de anställda i Svenska kyrkan är stadiga eller föränderliga gällande sin syn och kunskap i frågor kopplade till migration.

Academisch proefschrift - Amsterdam. / Issued also without thesis statement.

„Yvonne Rainer: Work 1961-1973“, eine der wichtigsten Quellen über die frühen Arbeiten der Tanz- und Fimkünstlerin, erschien 1974 in Halifax (Kanada) in einer von Kasper König am Nova Scotia College of Art and Design (NSCAD) kuratierten und produzierten Buchreihe. Die Nova Scotia Series bilden eine besondere Form von Archiv und Medium der Künstler_innen, die nicht mit einem Werk- oder Ausstellungskatalog vergleichbar sind. Sie sind es u. a. deswegen nicht, weil sie von künstlerischen Arbeiten handeln, die weniger ein abgeschlossenes Objekt als Werk umfassen, als vielmehr konzeptuelle und performative Prozesse beinhalten. Anhand von verschiedenen Materialien und einer Liste der Buchtitel rekonstruiert der Beitrag konzeptionelle Überlegungen und Kontexte sowie Produktionsprozesse und Gegenstände der Bücher.