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3 World Literature Studies

3 2012

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ZWISCHENRÄUME. ZU EINEM MOTIVKOMPLEX IN RILKE ZWEITER “DUINESER ELEGIE” UND DESSEN TRADITION

100%

Heinz J.

nr 4

38 – 49

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.

RILKE – GELESEN NACH, GESCHRIEBEN VOR AUSCHWITZ. EINIGE BEMERKUNGEN

88%

Kuczyńska-Koschany K.

nr 4

50 – 62

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.

“MIT DEM GEDICHT UND DURCH DAS GEDICHT – ANAMNESIS!” RILKE, CELAN UND KRYNICKI

75%

Roszak J.

nr 4

24 – 37

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.