Available for the first time in a single volume, Ranier Maria Rilke’s two most beloved sequences of poems rendered by his most faithful translator. Rilke is unquestionably the twentieth century’s most significant and compelling poet of romantic transformation and spiritual quest. His poems of ecstatic identification with the world exert perennial fascination. In Stephen Mitchell’s versions of Rilke’s two greatest masterpieces readers will discover an English rendering that captures the lyric intensity, fluency, and reach of his poetry. (...) Stephen Mitchell adheres impeccably to Rilke’s text, to his formal music, and to the complexity of his thought; at the same time, Mitchell’s work has authority and power as poetry in its own right. (shrink)

This study examines the effects of donation incentives on labor supply in an online labor market through a field experiment (_n_ = 944). We manipulate the donation purpose of the incentive to be either unifying or polarizing and the size of the donation relative to the workers’ wage. Our experimental design allows us to observe the decision to accept a job (extensive margin) and different dimensions of productivity (intensive margin). We predict and show that a unifying donation purpose attracts more (...) gig workers and improves their productivity compared to a polarizing donation purpose. We discuss the implications of these results in order to understand the role of donation incentives and labor supply in online labor markets. (shrink)

This article demonstrates how a new reading of Rilke’s poetry can provide a basis for comparing and contrasting the aesthetic approach to art and the language-based approach that foregrounds the role of metaphor and materiality in literary production. Lessing’s Laocoön is discussed in terms of an implied dialogue between painting and poetry, which, however, acquires a different valence when the Fifth of Rilke’s Duino Elegies suggests that poetry itself functions as a ‘metaphorical hypoicon’ allowing for shared meanings. My (...) concluding remarks emphasize the importance of the performing self to a complete understanding of Rilke’s semiotic potential. (shrink)

This article demonstrates how a new reading of Rilke’s poetry can provide a basis for comparing and contrasting the aesthetic approach to art and the language-based approach that foregrounds the role of metaphor and materiality in literary production. Lessing’s Laocoön is discussed in terms of an implied dialogue between painting and poetry, which, however, acquires a different valence when the Fifth of Rilke’s 'Duino Elegies' suggests that poetry itself functions as a ‘metaphorical hypoicon’ allowing for shared meanings. My (...) concluding remarks emphasize the importance of the performing self to a complete understanding of Rilke’s semiotic potential. (shrink)

Der Berg, a poem written between 1906 and 1907, is perhaps one of the most emblematic places to approach the relationship between Rainer Maria Rilke and the East. The mountain we are speaking of is Fujiyama, to which the celebrated Japanese painter Katsushika Hokusai dedicated two woodcut cycles. Presumably, Rilke came into contact with Japanese art through Edmond Goncourt, who had devoted precisely to Hokusai a major critical study in 1908. Another version of the story sees Rilke (...) as having read the monograph on Hokusai by Friedrich Perzynski, published in 1904 in the same series where Rilke’s Worpswede was issued. But let us read the text first:On several occasions, the artist tried to capture the.. (shrink)

What happens when in the midst of the routines of our workaday world we suddenly find ourselves in the presence of someone who regards us with intensity and demands our response? Rilke's poem explores that precise and pregnant moment when an object of scientific investigation, aesthetic contemplation or historical analysis suddenly breaks free from the constraints imposed upon it by a workaday perspective and transforms itself into a subject who beckons us to enter another world. Rilke's "Archaic Torso (...) of Apollo" leads us beyond our mundane and naturalistic concerns, beyond a thinking and doing that seeks to appropriate and masters a natural world.To faithfully follow its meandering thought means to be led to the very source from which springs narration and metaphor. It is from this same source that springs a human world. (shrink)

In his _Duino Elegies,_ Rainer Maria Rilke suggests that animals enjoy direct access to a realm of being—the open—concealed from humans by the workings of consciousness and self-consciousness. In his own reading of Rilke, Martin Heidegger reclaims the open as the proper domain of human existence but suggests that human life remains haunted by vestiges of an animal-like relation to its surroundings. Walter Benjamin, in turn, was to show that such vestiges—what Eric Santner calls the _creaturely_—have a biopolitical (...) aspect: they are linked to the processes that inscribe life in the realm of power and authority. Santner traces this theme of creaturely life from its poetic and philosophical beginnings in the first half of the twentieth century to the writings of the enigmatic German novelist W. G. Sebald. Sebald’s entire oeuvre, Santner argues, can be seen as an archive of creaturely life. For Sebald, the work on such an archive was inseparable from his understanding of what it means to engage ethically with another person’s history and pain, an engagement that transforms us from indifferent individuals into neighbors. An indispensable book for students of Sebald, _On Creaturely Life_ is also a significant contribution to critical theory. (shrink)

For Rilke, like Heidegeer, the being of things becomes problematic. Already in 1912, the poet wrote that, for example, things transferred their essence to the money and they disappeared then; and, after a time, the disillusioned individual notices that the money also has gone away and the essenc..

The present study of the philosophical orientation within the poetics of Rilke and Stevens aims to show that in the context of modern poetry, transcendence, or “crossing beyond,” must be understood in two distinct senses, as vertical and horizontal projections. The usurpation of one by the other or the transfer between them distinguishes the poetry of Rilke and Stevens and makes a comparative reading particularly illuminating. The fact that Rilke and Stevens are two of the most widely (...) invoked poets in the phenomenological tradition will help to establish a modern sense of transcendence distinct from a traditional or Romantic longing for a realm above and beyond earthly existence. This would be an “immanent” transcendence, a crossing of horizons between perception and imagination or imagination and reality, by the disclosures and inventions of which, it is argued here, the more traditional notion of transcendence is usurped in distinct ways. (shrink)

"A quoi bon les poètes?" le texte de Heidegger destiné à faire l'éloge de Rilke, semble à certains égards faire plutôt l'éloge d'un autre poète, Hölderlin. Le présent ouvrage déploie l'interprétation équivoque de Rilke par Heidegger, en mobilisant en outre ses lectures de Hölderlin et de Nietzsche. L'enjeu se situe dans la conception de la poésie et de son rapport au "temps de détresse", où la trace des dieux enfuis est perdue. Un commentaire critique du texte de Heidegger (...) montre que l'interprétation même constitue son sujet implicite et qu'il ouvre un nouveau sens de l'interprétation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:P. Christopher Smith HEIDEGGER'S MISINTERPRETATION OF RILKE Certainly one of Heidegger's most important accomplishments is to have reminded us of the original unity of poetry and philosophy. The "metaphysical" philosophy which Heidegger calls into question is characterized by its sharp separation of itself from what it calls "unscientific" modes of discourse. But that, Heidegger shows, is a limitation which comes from its narrowed conception of itself as strict, (...) methodical science, and one need only turn to Parmenides before the tradition of metaphysics or Nietzsche at the end of that tradition to see that in fact Heidegger is right: philosophy and poetry are not necessarily to be dissociated. Indeed, the former can and should grow out of the soil of the latter. The point here is one which Heidegger might be said to have learned by experience: he found that the poetry of Hölderlin opened a way for philosophy out of the cul de sac into which phenomenological science had led it. And of course not only Hölderlin: Rilke was obviously important too. In fact to some, myself included, it seems that certainly as much as Hölderlin and perhaps even more, Rilke is the poet who displays the pre-metaphysical unity of poetry and philosophy. But that is not how Heidegger views Rilke. In respect to its philosophical value, Rilke's poetry, we are told, is inferior to Hölderlin's. There is, I suggest, a most puzzling blend of attraction and suspicion in Heidegger's interpretation of Rilke. On the one hand, Heidegger, perhaps better than anyone, is able to make clear the philosophical importance of Rilke's poetry and yet, having done that and having shown thereby the greatest sympathy for Rilke's thought, Heidegger goes on to portray Rilke as "metaphysical" and to claim for that reason that he is not the poet Hölderlin is. Is that assessment valid? And how did Heidegger arrive at it? It is to these questions that the following study is addressed. On my reading of "Wozu Dichter"1 the charge that Rilke persists in "metaphysical" thought has three dimensions. To begin with, the overriding consideration in the whole of the essay is that, like all "metaphysicians," Rilke is oblivious to the Being event. There are in 4 Philosophy and Literature turn two consequences which follow from that obliviousness: first, Rilke grounds all of what is in some highest existent, namely nature taken as will, and second, in turning inwards to consciousness he re-presents the original presencing of existents. The theme of grounding in a highest existent is worked out from page 256 (p. 100) to page 281 (p. 126) and that of the re-presentation in consciousness, from page 281 (p. 126) to page 294 (p. 141). It will become evident, I think, that the discussions of two other apparently separate questions, that of the Open and that of saying and singing, fit respectively into each of these major sections of the essay. Let us now consider the aspects of the charge that Rilke is "metaphysical" one by one. Just what does obliviousness to Being mean? It means obliviousness to the clearing or lighting {Lichtung). Heidegger, it must be kept in mind, distinguishes between what is and the event in which what is comes to be displayed as such. He refers to the event itself as the lighting and it is only in the light of the lighting, he tells us, that what is can be. Obliviousness to Being is obliviousness, not to some highest existent or even to the whole of beings, but to the Being event, to the lighting. "Metaphysics," in seeking the ontos on, the being which in being most truly underlies all other existents, forgets the event in which any being, even the highest, comes to be. Consequently, instead of experiencing temporal presencing, arising out of non-presence, das Nichts, "metaphysics" reduces anything which comes to be to something which always is in steady presence. Obliviousness to Being is, if seen in this way, obliviousness to the nicht-ist, das Nichts from which any ist originates. That shows up in Rilke in that for him beings are not "dissolved in void... (shrink)

Die Rilke-Auslegung wird in weitreichende historische Perspektiven gestellt. Seit der Renaissance lässt sich ein Autonom-werden der Kunst beobachten, das bei Hölderlin, Wagner und Nietzsche zur Erwartung eines neuen ästhetisch bestimmten Zeitalters fuhrt. Heidegger schliesst für seine Kennzeichnung der gegenwärtigen Zeit, nach dem Tode Gottes und ohne eine neue bestimmende Mitte der Kultur, als ,, dürftiger Zeit" bei Hölderlin und Nietzsche an. Rilkes Position als „Dichter in dürftiger Zeit” ist in Heideggers Texten indessen nicht eindeutig. Rilke ist schliesslich nur (...) ein Gesprächspartner in einem Gesprächskontext zwischen Philosophie und Kunst. Innerhalb dieses Kontextes werden hier zwei Gedichte und die Grabschrift Rilkes interpretiert. Adorno und Habermas werfen Husserl vor, dass er die Forderung der Phänomenologie, zu einer „Wesensschau” zu kommen, die das objektivierende Denken überwindet, nicht einlösen kann. Die These dieser Abhandlung ist, dass Rilke in einigen seiner Gedichte die „Wesensschau” auf adäquate Weise verwirklicht. Die methodische Seite, die freilich nicht von der inhaltlichen zu trennen ist, kommt in „Der Schauende”, die ganz auf das Inhaltliche gerichtete Seite in „Der Panther” mit völliger Klarheit zum Ausdruck. Was kann es bedeuten, dass Rilke das Wesen schliesslich als Un-wesen erblickt ? (shrink)

Weltinnenraum ist Rilkes poetisches Bild für den Zusammenhang aller Dinge und Ereignisse im Universum. In seinen Duineser Elegien geht es um die Vergeistigung der endlichen Welt der Dinge hinein in eine zeitfreie Gestalt. Der Bezug zur östlichen Weisheitslehre, besonders zur buddhistischen Religion, liegt auf der Hand. Michael von Brück arbeitet ihn in diesem bahnbrechenden Werk über die Verbindung von Religion und Poesie heraus. Er zeigt, dass Rilke, der von der Gestalt des Buddha zutiefst berührt war, in seiner Poesie eine (...) Erfahrung aufscheinen lässt, wonach hinter der oft leidvollen und zerrissenen Lebenswelt ein Zusammenhang erkennbar wird, der alles umfasst und dem Leben neuen Sinn gibt. (shrink)

The Poet as Phenomenologist: Rilke and the New Poems opens up new perspectives on the relation between Rilke's poetry and phenomenological philosophy, illustrating the ways in which poetry can offer an exceptional response to the philosophical problem of dualism. Drawing on the work of Husserl, Heidegger and Merleau-Ponty, Luke Fischer makes a new contribution to the tradition of phenomenological poetics and expands the debate among Germanists concerning the phenomenological status of Rilke's poetry, which has been severely limited (...) to comparisons of Rilke and Husserl. Fischer explicates an implicit phenomenology of perception in Rilke's writings from his middle period (1902-1910). He argues that Rilke cultivated an artistic perception that, in a philosophically significant manner, overcomes the opposition between the sensuous and the intelligible while simultaneously transcending the boundaries of philosophy. Fischer offers novel interpretations of central poems from Rilke's Neue Gedichte (1907) and Der neuen Gedichte anderer Teil (1908) and frames them as the ultimate articulation of Rilke's non-dualistic vision. He thus demonstrates the continuity between Rilke and phenomenology while arguing that poetry, in this case, provides the most adequate response to a philosophical problem. (shrink)

In his _Duino Elegies,_ Rainer Maria Rilke suggests that animals enjoy direct access to a realm of being—the open—concealed from humans by the workings of consciousness and self-consciousness. In his own reading of Rilke, Martin Heidegger reclaims the open as the proper domain of human existence but suggests that human life remains haunted by vestiges of an animal-like relation to its surroundings. Walter Benjamin, in turn, was to show that such vestiges—what Eric Santner calls the _creaturely_—have a biopolitical (...) aspect: they are linked to the processes that inscribe life in the realm of power and authority. Santner traces this theme of creaturely life from its poetic and philosophical beginnings in the first half of the twentieth century to the writings of the enigmatic German novelist W. G. Sebald. Sebald’s entire oeuvre, Santner argues, can be seen as an archive of creaturely life. For Sebald, the work on such an archive was inseparable from his understanding of what it means to engage ethically with another person’s history and pain, an engagement that transforms us from indifferent individuals into neighbors. An indispensable book for students of Sebald, _On Creaturely Life_ is also a significant contribution to critical theory. (shrink)

El presente escrito propone una interpretación filosófico-literaria de la obra de Rainer Maria Rilke, realizada, fundamentalmente, a partir de Las elegías del Duino (1923) y los Sonetos a Orfeo (1923). Se plantea que la obra rilkeana contiene una propuesta de solución al problema existencial del hombre en el mundo, en el contexto de la crisis de la modernidad. El poeta describe una vía para lograr un ‘nuevo arraigo’ humano, cuyo eje fundamental es la aceptación de la muerte, que se (...) concreta en la adquisición de conciencia respecto del propio cuerpo y su finitud, a partir de las vivencias sensibles. (shrink)

A través de los escritos de Rilke que describen la misión del poeta y de la filosofía de Heidegger que trata de descifrar el sentido del Ser a través del lenguaje, este escrito intenta aproximarse al acontecimiento que tiene lugar en la creación poética. Partiendo de su labor transicional entre el territorio de lo inhóspito y el de lo familiar, se expondrá el modo en que la poesía apela a los orígenes subterráneos, así como la conexión que establece entre (...) el individuo y el mundo a través del amor intransitivo. A continuación, se pasará a analizar el proceso de creación en tanto salto que tiene lugar en un estado de apertura, consumado en la transformación de lo visible en invisible que el poeta lleva a cabo incorporando la realidad y en la figura del ángel de Rilke. Finalmente, se tratará de dar cuenta de la crisis provocada por el imperio de la técnica surgido a partir de la Modernidad, que amenaza con suprimir toda posibilidad de creación artística a través de dominio, fabricación y transparencia. (shrink)

Franz Xaver Kappus foi um aspirante à poeta que pediu conselhos e sugestões ao renomado escritor Rainer Maria Rilke. Estes pedidos se deram por meio de cartas ao qual Kappus não recebe nenhuma sugestão quanto à estilística, métrica ou composição de poemas, mas sim, vários conselhos na perspectiva de construção de uma obra através das experiências mais singelas da vida. Após o falecimento de Rilke a coleção destas epistolas direcionadas a Kappus foi compilada em um livro, com o (...) sugestivo nome de “Cartas a um Jovem Poeta”. Desde então tem servido para muitos leitores como um livro basal ao entendimento pessoal, que versa sobre o pertencimento e de qual é o nosso lugar de atuação no mundo. Essa comunicação tange ao conteúdo dessas cartas, de que cunho são tais conselhos e o fundo filosófico que estes contém; com isso realiza-se uma analise desta emblemática obra do século XX. (shrink)

Este artículo toma como punto de partida la colaboración artística entre Rainer Maria Rilke y Balthazar Klossowski –Balthus– que vio la luz en la publicación del libro titulado Mitsou. Historia de un gato, con ilustraciones del joven pintor y prólogo del poeta. Este caso de estudio sirve como hilo conductor de un análisis de mayor calado sobre el problema de lo “Abierto”, concepto de orden nouménico que Rilke acuña en su intercambio creativo con Balthus, y que fue motivo (...) concreto de reflexión por parte de Martin Heidegger. El presente trabajo pretende abordar las implicaciones de afinidad y enfrentamiento entre Rilke y Heidegger, y profundizar en la figura del gato como imagen metafórica de la animalidad presente en el develamiento que acontece en el Da-sein. Para ello será necesario considerar aportaciones teóricas clave de Ortega y Gasset y Schopenhauer, así como posturas críticas de Giorgio Agamben y Jacques Derrida, específicamente relevantes en este debate, que se inclinan hacia una ontología animal de la alétheia. (shrink)

Este artículo toma como punto de partida la colaboración artística entre Rainer Maria Rilke y Balthazar Klossowski –Balthus– que vio la luz en la publicación del libro titulado Mitsou. Historia de un gato, con ilustraciones del joven pintor y prólogo del poeta. Este caso de estudio sirve como hilo conductor de un análisis de mayor calado sobre el problema de lo “Abierto”, concepto de orden nouménico que Rilke acuña en su intercambio creativo con Balthus, y que fue motivo (...) concreto de reflexión por parte de Martin Heidegger. El presente trabajo pretende abordar las implicaciones de afinidad y enfrentamiento entre Rilke y Heidegger, y profundizar en la figura del gato como imagen metafórica de la animalidad presente en el develamiento que acontece en el Da-sein. Para ello será necesario considerar aportaciones teóricas clave de Ortega y Gasset y Schopenhauer, así como posturas críticas de Giorgio Agamben y Jacques Derrida, específicamente relevantes en este debate, que se inclinan hacia una ontología animal de la alétheia. (shrink)

The essay analyses the emergence of Rilke’s angel-and-puppet from (the watching of) the nothing as indicative of the fascination with artificial creatures which, according to Mladen Dolar, resulted from the Enlightenment ambition to posit a "zero subjectivity" at the point where the spiritual would directly spring from the material. This zero subjectivity, described here as the autonomization of the automaton, amounts to a subtraction of the machine from the Cartesian understanding of the animal. The question that Rilke’s Duino (...) Elegies posit is, hence, not a question of the humanization of the animal and the animalization of man (as Heidegger believed), but, rather, of the subtraction of the puppet-and-angel from the animal-and-man. The drama of this subtraction, with its indefinable residue, destabilizes the anthropogenetic machine analysed by Agamben and fuels the project which Badiou has recently brought forth as the 20th century project of a new man. (shrink)

Atypical among Heidegger’s numerous discussions of poets is the condemnation of Rilke in the 1942-43 lecture course Parmenides. At stake is the definition of “the open” (das Offene): Rilke reserves the open for animals as freedom from conceptual determinacy, whereas Heidegger reserves it for human beings as the place of Being in which things first appear as what they are. The open, for Heidegger, names the existential conception of place (as distinct from a geographical point) and features in (...) his life-long attempts to articulate the relations between language, human existence, poetry and the everyday. By denying that human beings have access to the open, Rilke runs athwart this project and by denying it in a poem he confounds the expectations that Heidegger harbours with respect to the work of art as a site of the opening up of aesthetic experience, within the everyday, to ontological questioning. (shrink)