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This study focuses on the striking relationship between one of the most important and enigmatic poets of the twentieth century and the art and artists of the Art Nouveau. The author explores the depth of the relationship itself, examines Rilke's activities as an art critic, and analyzes the profound influence of Art Nouveau upon the themes, motifs, and structure of the poet's early works.
Illuminates the major aspects of the works of Germany's greatest 20th-century poet. Rainer Maria Rilke (1875-1926) is the best-known German poet of his generation and is widely appreciated today by readers in Europe, the United States, and world-wide. Because of the inventiveness and musicality of his poetic language and the visionary intuition of his thinking, Rilke's influence extends well beyond poetry to include religion, philosophy, the social sciences, and the arts. His works have been widely translated into English, and new enderings of such poem cycles as The Duino Elegies and The Sonnets to Orpheus appear frequently. Critics regard Rilke's Notebooks of Malte Laurids Brigge as a seminal modern novel. The Companion to Rilke provides essential, up-to-date essays by top Rilke scholars on a wide range of the major aspects of Rilke's life and works. The volume follows the chronology of Rilke's career, emphasizing those works that have met with the greatest critical interest. Among the topics covered are: Rilke's life and thought; the writings before 1902; Das Stunden-Buch and Das Buch der Bilder; the Neue Gedichte, The Cornet and other brief narratives; Malte Laurids Brigge; The Duino Elegies; The Sonnets to Orpheus; Rilke as a poet in French; Rilke and the visual arts. Erika and Michael Metzger (SUNY Buffalo) have written extensively on various aspects ofGerman literature and have edited significant Baroque texts.
"Rainer Maria Rilkes' early verse is often seen as having little relevance to the great achievement of the middle years, the Neue Gedichte. Yet the very different styles of the juvenilia and this new maturity are united by a preoccupation with processes of motion and growth which governs both his life and work. In this meticulous philological study, Ben Hutchinson reassesses every level of Rilkes early poetry, from its motives and metaphors to its very grammar and syntax, in order to trace what he terms a poetics of becoming. With careful attention to rhythm, resonance and linguistic detail, he illuminates both the hidden patterns of the poetry and the artistic context of the fin-de-siecle. From its roots in the intellectual climate of the 1890s to the poems inspired by Rodin in 1908, Rilkes stylistic development is set against the surprising consistency with which he pursues this poetics of becoming."
Explores the biographical and textual evidence of Russia's importance in shaping the writer Rainer Maria Rilke's aesthetic perception. During Rilke's two trips to Russia at the turn the century, he made connections with a number of important artists, including Leo Tolstoy and Nikolai Leskov, and the author traces the impact of these meetings and other experiences in Russia upon Rilke's writing. Annotation copyright by Book News, Inc., Portland, OR
In 1923, the twenty-seven-year-old Paul Hindemith published a composition for voice and piano, entitled Das Marienleben, based on Rainer Maria Rilke's poetic cycle of 1912. Twenty-five years later, the composer presented a thoroughly revised, partially rewritten version. The outcome of this revision has been highly controversial. Ever since its first publication, musicologists have argued for or against the value of such a decisive rewriting. They do so both by comparing the two compositions on purely musical grounds, and by attempting to assess whether the more strictly organized tonal layout and dynamic structuring of Marienleben II is more or less appropriate for the topic of a poetic cycle on the Life of Mary. This study is the first to analyze the messages conveyed in the two versions with an emphasis on their implicit aesthetic, philosophical, and spiritual significance. Acknowledging the compositions as examples of musical ekphrasis ("a representation in one artistic medium of a message originally composed in another medium"), the author argues in exhaustive detail that the young Hindemith of 1922-23 and the mature composer of 1941-48 can be seen as setting two somewhat different poetic cycles. This volume is of interest for musicologists and music lovers, scholars of German literature and lovers of Rilke's poetry, as well as for readers interested in the interartistic relationships of music and literature.
It has often ben suggested that artists and writers in Germany's imperial era shunned social engagement, preferring instead apolitical introspection. However, as Matthew Jefferies reveals, whether one looks at the painters, poets and architects who helped to create an official imperial identity after 1871; the cultural critics and reformers of the later 19th century; or the new generation of cultural producers that emerged in the years around 1900, the social, political and cultural were never far apart. In this attractively illustrated book, Jefferies provides a lively introduction to the principal movements in German high culture between 1871 and 1918, in the context of imperial society and politics. He not only demonstrates that Germany's 'Imperial culture' was every bit as fascinating as the much better known 'Weimar culture' of the 1920s, but argues that much of what came later has origins in the imperial period. Filling a significant gap in the current historiography, this study will appeal to all those with an interest in the rich and diverse culture of Imperial Germany.
An incisive and intimate account of the life and work of the great poet Rilke, exploring the rich interior world he created in his poetry When Rilke died in 1926, his reputation as a great poet seemed secure. But as the tide of the critical avant-garde turned, he was increasingly dismissed as apolitical, the angels and roses of his poems deemed irrelevant. In Rilke: The Last Inward Man, acclaimed writer Lesley Chamberlain uses this charge as the starting point from which to explore the expansiveness of the inner world Rilke created in his poetry. Weaving together searching insights on Rilke's life, work, and reputation, Chamberlain casts the poet's inwardness as a profound response to a world that seemed to be losing its spirituality. In works of dazzling imagination and rich imagery, Rilke sought to restore value to Western materialism, encouraging not narrow introversion but the cultivation of a new sensibility in a secular world after the death of God.
A look at neglected aspects of the early career of one of the premier poets of the German language.