The past subjunctive "If this were not so" is perhaps more formal-sounding than the German original, but it seems preferable to the un-idiomatic "else" that some translators choose. Stephen Mitchell's "otherwise" is a slightly more colloquial solution. The construction is repeated in the original, but "were it not so" would be ungainly to repeat. Stutt's neat solution is to carry on the argument by using the conjunction "and" after the close of the octet. The sestet flows beautifully. Sensuous violence suffuses the phrase "glisten like a predator's pelt". Stutt adds the verb "radiate", which convincingly anticipates "star".
Die Realität des Imaginären Architektur und das digitale Bild
Similarly, "angle" is a good addition, a word whose visual-art associations place it in the context of the torso. The last half-line is simple and stunning. The construction "you have to" is far stronger than "you must", generally the translators' favourite. This closer version of the sonnet is still quite bold, and introduces some new elements to the original. The looser version below is more impressionistic. The preoccupation now is with creating a soundscape by using assonantal rhymes, often quite distant ones.
The lines are shorter, the movement brisker. Rhythmically, the brevity works well. I find the last three lines of the second stanza effective, even while liking the more elaborate imagery of steering and gliding in the first translation. Item Condition. Did you mean rc bike. Get it by Thursday, November Only 1 left in stock. Kindle Edition. Rilke by Ludwig Andert 22 August Get it by Monday, November Get it by Wednesday, December 4. Unknown Binding.
Die weltanschaulichen Grundlagen des "medialen Schreibens" in R.
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Spiritismusrezeption des Autors by Axel Bannert 4 February Get it by Monday, December 2. Mass Market Paperback. Audible Audiobook. The things have become invisible; the new technological society of the 20 th century is 9 Rilke, Rainer Maria. Ernst Pfeiffer. Frankfurt a. Bielefeld: transcript Verlag, Here:. Therefore, Rilke sees the task of the poet in his Ding- Gedichte to rescue the things by transforming their invisibility and transience through poetry. The physical, fleeting reality gets transformed into an aesthetic expression through the poet; the aesthetic attempts at preserving the various fragments of the world through art.
However, the lyrical subject in Rilke s poem Der Dichter 12 expresses the problematic relationship between the artist and the things: Du entfernst dich von mir, du Stunde. Allein: was soll ich mit meinem Munde? Ich habe keine Geliebte, kein Haus, keine Stelle auf der ich lebe. Alle Dinge, an die ich mich gebe, werden reich und geben mich aus. The lyrical subject is questioning the function of the artist in a world, where the poet is not able to catch up with time, and where objects gain more power.
Still, the poet does not give up. Rilke finds a new commitment in the Ding, which transforms the physical, temporal things in the world into the previously mentioned durational Dinge. In other words, the poet rescues the essence of the worldly things by transforming them into art.
Rilke s Ding distances itself from the temporality of commodification and speed to instead strive for aesthetic autonomy. Der Dichter. Only then can the human being become a unified whole, as he through the aesthetic creates a feeling of transcending time. Rilke s aesthetic Ding incorporates exactly what Schiller describes alle Bedingungen seines Ursprungs und seiner Fortdauer. The Ding seeks to be a permanent and defined whole; it has an identity, as it entails and preserves the past Ursprung, the present, and the future through its continued existence Fortdauer.
The aesthetic experience, the Ding, aims at creating a feeling of individual subjectivity and control, which removes the individual from the objective linearity and acceleration of time he is wie aus der Zeit gerissen. Schiller s statement together with the previous quotes from Simmel and Rilke stand in opposition to modernity s commodification in terms of the destruction of capitalism, which premises include the notions of temporality and speed.
At the same time, Rilke does neither aim at turning away from speed and modernity, nor return to tradition through his concept of the Ding.
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Essentially, this conversion consists of Rilke s deliberate transformation of speed into a more controllable, human scale of speed namely movement expressed through the Ding. Rilke s criticism of speed, temporality, and commodification, and his concept of the Ding-Gedicht make these poems of things representative for the aim of my thesis.
It is 13 Schiller, Friedrich. The poetic movement in this thesis is not to be understood as an attempt to adapt various technological speed commodities, similar to many other poetic strategies.
Rilke s poetics has another agenda: It will become clear in this project that the poetics of movement is expressed through, first, a fundamental dynamics and mobility of Rilke s Ding as opposed to the understanding of things being rather static. The mobility of the Dinge is enabled through various processes of transformation between internal and external realities, between subject and object.
A way to understand these interactive processes is through Rilke s use of metaphor and simile. Second, the movement in Rilke s Ding-Gedicht is also expressed as a retardation of acceleration and speed. The result of this deceleration in the poems can at times even result in a standstill. The 14 Lamping, Dieter. Moderne Lyrik.
Various scholars writing on speed and movement, and Rilke s dynamics of the Ding support my exploration of a poetics of movement in Rilke s Ding-Gedicht. For my analysis of movement as a poetic expression, I will first rely on a definition of movement as a rate of speed by Duffy: Movement occurred from a place; speed was experienced in a space that is to say, in a non-place, a place which has been abstracted and departicularized to the extent that all local flavor which cast it as a locus of identification has been leached from it.
The world as a collection of unique and distinct places was abstracted into one efficient space; the comforts and the culture of place are given up; They were offered speed. Speed, then, is not just the friction and the inconvenience of going faster, or of killing time; it is the idea that movement, instead of being a plotted leap from the pleasures of one identifiable place to the potential pleasures of another, would be a pleasure in itself, a pleasure that represents an escape from the horrific stasis of a place and instead gets to be a physical sensation Duffy first describes the initial difference between speed and movement: Speed was rather seen as an abstract non-place, lacking in identity, which contributes to a feeling 16 Rilke, Rainer Maria.
The opposition of speed was, according to Duffy, movement, which had an identity, as it included the notion of a concrete place, of comfort and of culture. Speed as a pleasure of movement, moving no longer from place to place but within a static space, collapsed movement and speed together and transformed the previous, comforting movement into a more speed-like, wild motion.
Duffy s definition of movement incorporating identity similarly suggested by Schiller is useful in the discussion of Rilke s dynamic Ding.
The Ding-Gedicht seeks to slow down speed. Through the mobility of Rilke s Ding, speed is deliberately converted into movement, which is not an abstract non-place, and movement opposed to speed is something the human being can control. He examines how Bewegung is represented in a selection of poems from Neue Gedichte.
Willi Flemming and Kurt Wagner. Meisenheim am Glan: Verlag Anton Hain,. I will complement his linguistic analysis in a systematic manner with further questions on time, movement, the lyrical subject and form, to link these categories together to find a cohesive pattern of a poetics of movement throughout my analysis. Judith Ryan discusses the dynamics of Rilke s Ding as an interaction between the subject and the object.
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She defines the main theme of Neue Gedichte with the concept of Verwandeln: 20 Diese Begriffe [des Verwandelns, des Umschlags, der Wendung und der Umkehr] beziehen sich auf eine Wandlung, die vor dem Auge des Betrachters im Gegenstand des jeweiligen Gedichts vor sich zu gehen scheint It is not a goal of this project to trace the various phases of development in Rilke s literary production, which often can be divided into an early, middle and late period. The first and second chapters of this project offer a selection of socio-historical, literary and theoretical background relating to the time and speed culture around the turn of the 20 th century.
The aim is to create a substantial framework for the analytical third chapter, and to offer the reader an understanding of the culture of 20 Ryan, Judith. Rilkes Lyrik der Mittleren Periode. The first two chapters also include samples from other literary works from Rilke and other authors, as a complement to the closely composed perspective of this thesis. The third chapter consists of interpretations of the individual poems.
The poems have been chosen carefully, in order to elucidate the questions raised for this project in a demonstrative manner to enable a definition of a poetics of movement. I will foremost look at the content of the poems, and their form and language. The reading of the poems will be conducted in a systematic manner guided by the following four categories and questions: 1 Time - How and to which extent does the poem engage with the past?
The present? The future? Is it coherent? The Turn of the 20 th Century The turn of the 20 th century is often characterized as a critical turning point of decay and crisis. The world seemed to change at a rapid speed, which resulted in a vast pluralism of beliefs and new values.
When looking at the history of German lyric poetry and literature, one questions to what extent societal and cultural factors contributed in shaping and changing literature over time. Gerhard Kaiser suggests that these factors assist in formulating a general framework and reference point for a history of lyric poetry. Kaiser proposes that the status, significance and function of lyric poetry and literature change along with developments in society.
These intrusions include telegraphy, photography, typewriting, machine-set printing, photomechanical printing, the cheap rotary press, telephony, recorded sound on wax cylinder and phonograph, stereoscopes, electric light, early cinema exhibitions, nickelodeon kinetoscopes, wireless radio, facsimile machines, teletype and television all of them invented by Such a rapid technological advancement certainly confronted both established systems of representation and resulted in sociological and political changes.
However, the possibilities that photography, cinema, phonography, the halftone process, radio and 22 Kaiser, Gerhard. Cambridge: Cambridge University Press,. Nonetheless, as Murphet points out, if one wants to separate between degrees of material value, the newer technological media can be classified as enjoying a premium on materiality, whereas the older media are characterized by spirituality, as they are not as focused on matter. Poetry therefore served as a mediator between spirit and matter. How can then a development in literature into the modern media ecology and a modernization of the poem be defined?
Still, there are clear attempts from this immaterial pseudo-medium for how it strategically tried to integrate materiality 24 Ibid Hegel, Georg Wilhelm Friedrich. Multimedia Modernism Ibid. The ambition of literature to become a thing around the turn of the century can be seen in examples such as the mass-marketed generic bestseller, 29 or even the Ding-Gedicht by Rilke, where the focus explicitly is emphasized on isolated things, legitimizing the poem as their expressive medium.