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RILKE UND NIETZSCHE ODER “DIE LUST AN DER MASKE”

100%
Zelinsky B.
World Literature Studies
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2012
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vol. 4 (21)
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issue 4
11 –23
EN
The poet Rilke and the philosopher Nietzsche have a great deal in common. They have no family, no employment, and no home and for both life and work form a whole. They are nearly exclusively preoccupied with the question of human existence. The similarities or affinities which connect the existential poet and the existential philosopher have been widely discussed. What has been neglected up to now is the fact that only Nietzsche but also Rilke attaches a lot of importance to the role and significance of the mask. That is why this essay focuses on: Rilke and Nietzsche agree on the fact that the mask is an essential and indispensable constituent of a creative personality. The poet and the philosopher create truth whatever mask they wear.
2
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RILKE AUS ZWEITER HAND

100%
Stahl A.
World Literature Studies
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2012
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vol. 4 (21)
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issue 4
63 – 74
EN
Rilke´s life and work: both are widely available, useable and insightfully presented in detailed accounts of his life and in editions of his works, in an inclusive Chronik and Rilke-Handbuch, in translations and scholarly research. But one meets him also by chance, casually, usually second-hand, in biographies, reminiscences, novels and tattoos as the embodiment of a calling, as a helpful mediator, deliverer and liberating messenger. Our discussion should centre upon such readings and interpretations of Rilke´s work.
3
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ZWISCHENRÄUME. ZU EINEM MOTIVKOMPLEX IN RILKE ZWEITER “DUINESER ELEGIE” UND DESSEN TRADITION

100%
Heinz J.
World Literature Studies
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2012
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vol. 4 (21)
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issue 4
38 – 49
EN
The article deals with the motif of the “interspace” in Rilke´s second Duino Elegy. It shows its origins in natural philosophy (Lucrez) and cultural history (Herder) as well as its tradition in other literary texts (Jean Paul, Lew Tolstoi, Peter Handke or Joanne K. Rowling). In Rilke´s texts the motif is closely connected to certain geographical places he visited (Egypt, Duino, Venice). It is also affiliated with the legend of St. Alexius, who lived unrecognized beneath the stairs in his parent´s house – an example of the “interspace”, where one can have “great” experiences of transcendence without being over-burned or destroyed by them. Therefore, those “interspaces” are the ideal space for the poetic inspiration and creation.
4
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DAS “DING” ALS INDIKATOR DER ZUKUNFT

100%
Pavlova N. S.
World Literature Studies
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2012
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vol. 4 (21)
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issue 4
3 – 10
EN
This essay focuses on Rainer Maria Rilke´s preoccupation with things, a new interest which goes back to his stay in Paris and his contact with the sculptor Rodin, and puts it into a wider context. Baudelaire and the literature of the beginning of the 20th century as well as philosophers like Heidegger showed a deep interest in things and discovered their vital relationship with man. Consequently, Rilke developed a new concept of things based on his belief that things contain a more fully intensity of life and thought than anything else in the collection of poems Neue Gedichte (1906/07). Accordingly, the things are continuously changing and passing from one state to another and thus become an indicator of what is to come, of future.
5
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SLOVAKISCH RILKE – REZEPTION IM ZEITENWANDEL. EINE BESTANDSAUFNAHME

88%
Richter L.
World Literature Studies
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2012
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vol. 4 (21)
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issue 4
75 – 98
EN
The Slovak reception of Rilke began in 1912 but during the next three decades it was restricted to publications of single poems and short stories in papers and magazines. It was not until 1942-1949 that a more intense research of Rilke´s work began, especially in the work of the Catholic modernist (Hanus, Hlbina, Javor, Silan, Šprinc, Strmeň) and partially the surrealist Lenko. After the communist overturn in February 1948 it was stopped and only twenty years later Válek could continue. Even in the era of “normalisation” it continued with re-editions of Válek´s translations and in the end of the 1980s it experienced ascension thanks to Šabík. After the Gentle Revolution there were publications by Šabík, Gáll, Bžoch, Šimon and Richter.
6
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RILKE – GELESEN NACH, GESCHRIEBEN VOR AUSCHWITZ. EINIGE BEMERKUNGEN

88%
Kuczyńska-Koschany K.
World Literature Studies
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2012
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vol. 4 (21)
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issue 4
50 – 62
EN
The title and conceptualization of this text were inspired by the important book by Victor Klemperer “Before 33/after 45” (1956). The author tries to argue that the poet who lived and wrote before 1933 (Rainer Maria Rilke died in December 1926), would not be so widely read and interpreted today had he lived and written in the period of the Third Reich. The author uses Rilke´s letters, memoirs, works and the other documents in this article as a figure of a clairvoyance in the same sense in which it was understood by the Polish poet Cyprian Kamil Norwid (1821-1883): “A clairvoyance has two sources: either wisdom, or désinteressement.” This clairvoyance becomes obvious when we compare – as Giorgio Agamben has done – fragments from Rilke´s novel Die Aufzeichnungen des Malte Laurids Brigge (1910, that is, before World War I) with the figure of the concentration camp “musulman” (which appears in Primo Levi´s books). The comparison has to do with the encounter of the bare face with reality and the relevant consequences that arise from this encounter. However, we find any clairvoyance neither in Rilke´s correspondence, nor in the memories of his friends, who often describe the poet´s ambivalent behaviour. Also, the author found it important to point out German and Polish reception of Rilke between 1933 and 1945. Her findings confirm the hypothesis about Rilke´s ambivalent attitude toward Jews and anti-Semitism.
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“MIT DEM GEDICHT UND DURCH DAS GEDICHT – ANAMNESIS!” RILKE, CELAN UND KRYNICKI

75%
Roszak J.
World Literature Studies
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2012
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vol. 4 (21)
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issue 4
24 – 37
EN
The article concentrates on the intertextuality of Celan, Rilke and Ryszard Krynicki (a Polish poet of the “New Wave” generation and translator of Celan´s poetry). Eugeniusz Tkaczyszyn-Dycki entitled one of his poetry books Poezja jako miejsce na ziemi (Poetry as a place on Earth). For the authors who she mentions in the article poetry is indeed a place to dwell. The reflections concentrate on biographical signals (chronotopic) encrypted in a poem (geo-poetry), also read out from a connected with (new) biographism – geo-poetic prospect (hermeneutics of the place and situation). To Paul de Man´s question, included in the article Autobiography as Defacemet whether an autobiography can be written in the form of a poem, it is fitting to answer that, indeed, it can. In the article the author associates geo-poetics with biographical orientation.
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