Place into Poetry.
The tension between referentiality and hermeticism inherent in Rilke's Neue Gedichte has produced a divide in the critical literature, where either one pole or the other tends to be privileged. Studies of the relationship between Neue Gedichte and space either read the poems biographically in relati...
| Publicado en: | Orbis Litterarum Vol. 61; no. 4; pp. 263 - 291 |
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| Formato: | Literary Criticism |
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Wiley-Blackwell
Aug2006
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=21540491&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 21540491 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01057510 HYM jtl: Orbis Litterarum issn: 01057510 maglogo: Y pubinfo: dt: Aug2006 vid: 61 iid: 4 pid: 480 pub: Wiley-Blackwell artinfo: ui: 21540491 10.1111/j.1600-0730.2006.00828.x ppf: 263 ppct: 28 formats: tig: atl: Place into Poetry. aug: au: Bridge, Helen affil: University of Exeter su: Poetry (Literary form) Spacetime Hermetism Literature Neue Gedichte (Book) Rilke, Rainer Maria, 1875-1926 sug: subj: Poetry (Literary form) Spacetime Hermetism Literature Neue Gedichte (Book) Rilke, Rainer Maria, 1875-1926 ab: The tension between referentiality and hermeticism inherent in Rilke's Neue Gedichte has produced a divide in the critical literature, where either one pole or the other tends to be privileged. Studies of the relationship between Neue Gedichte and space either read the poems biographically in relation to real places, or concentrate on the classic Dinggedichte, showing how these transform objects into self-contained patterns of motion. This article argues instead that the references to places in Neue Gedichte reinforce the ambivalence between referentiality and hermeticism. Close comparative readings of three poems which are neither obvious examples of the Dinggedicht nor exercises in visual perception or ‘sachliches Sagen’–‘Der Turm’, ‘Venezianischer Morgen’ and ‘Spätherbst in Venedig’– demonstrate Rilke's concern with the relationship between real space and aesthetic space, and with the nature of poetic ‘space’, given the temporal nature of language. It is shown how the poems both give space a temporal dimension and transform temporal processes into aesthetic space. Beyond Rilke's own concern with learning more productive ways of seeing, vision plays an important aesthetic role in making it possible to convey space as a temporal process. pubtype: Academic Journal doctype: Literary Criticism src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2006 holdings: @attributes: islocal: N |
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