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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, <tnn Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 UNORTHODOX ICONS: RUSSIAN AVANT-GARDE IMPULSES IN THE WORKS OF RAINER MARIA RILKE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Jenifer Suzanne Cushman, B.A., M.A. * * * * * The Ohio State University * 1996 Dissertation Committee: Approved by Dr. Hugo Bekker, Adviser Dr. Leslie A. Adelson Dr. Myroslava M. Mudrak Advis raduate Program in German UMI Number: 9630876 Copyright 1996 by Cushman, Jenifer Suzanne All rights reserved. UMI Microform 9630876 Copyright 1996, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Jenifer Suzanne Cushman 1996 ABSTRACT Rainer Maria Rilke has been classified an "autonomous" artist in opposition to the avant-garde as outlined in Peter Btirger's Theorie der Avant-Garde. In labelling Rilke a l'art pour l'art poet, secondary literature has overlooked the impulses within his work that accommodate revolutionary potential. The purpose of this study is to show that Rainer Maria Rilke disturbed established notions of poetry with the avant-garde purpose of transforming life through his art. A primary impetus for the revolutionary aspect of Rilke's poetry arose from his perceived spiritual connection with Russian Orthodoxy and icons. Most scholars agree that Rilke's Russia experience influenced his early works, but many deny the impact of Russia on his middle and later works. Yet, Rilke's Easter revelation in the Kremlin echoed throughout his works, and is exhibited even as late as the Duineser Elegien. Rilke's involvement with the visual arts, his connection with Russia, and his emphasis on spiritual transformation enabled the icon to become the symbol for Rilke of the challenge art presents to those who receive it. Rather than analyze Rilke in terms of the western European avant-garde, I evaluate this Czech poet within the context of eastern Europe. In much the same way that Russian avant-garde artists such as Kandinsky and Malevich upset conventional Russian painting by utilizing the form and content of the icon in new ways, Rilke practiced his own form of "retrogardism," a term coined by Eda Cufer in "The Ear Behind The Painting.M If "Postmodernism," that problematic term applied indiscriminately to art, criticism, philosophy, and culture alike, fundamentally involves rewriting traditional scholarship, especially that pertaining to the turn of the twentieth century, then contemporary studies of such modernist artists as Rainer Maria Rilke must call into question established categories both of art and artist. iii My Parents, Doctors James E. and Pauline K. Cushman ACKNOWLEDGEMENTS It would be impossible to express my appreciation to all the friends and family members who have supported me in the conception and formation of this project, but a few individuals were especially crucial to the realization of my goal. My father's doctoral journey and our intriguing theoretical discussions inspired my childhood. I am grateful to my mother that our simultaneous progress toward our respective doctoral degrees advanced always with mutual support. Without the faith and encouragement of my dissertation committee, this document would certainly not have been possible; thanks to Professor Hugo Bekker, who was always on my wavelength; to Professor Leslie Adelson, who enabled me to see more keenly; and to Professor Myroslava Mudrak, whose stimulating History of Art lectures led me to Russian icons. I would also like to thank Keith Ashley, Anita Brown, Elizabeth Hamilton, and Kelly Meyer for our motivational "dissertation therapy" sessions. Finally, I would like to express my enduring gratitude and love to Matthew T. Dingo, for seeing me through. v VITA December 31, 1967.............Born - Jefferson City, Missouri 1987-88.......................Rhodes Exchange, Eberhard-Karls Universitfit, Tlibingen, Germany 1989..........................B.A., Rhodes College, Memphis, Tennessee 1990-91.......................Fellowship, Freie UniversitSt, Berlin, Germany 1992..........................M.A., Ohio State University, Columbus, Ohio Sept.-Dec. 1995.............. Midwestern Mentored Teaching Program, University of Chicago 1989-present..................Graduate Teaching and Research Associate, Ohio State University PUBLICATIONS Article, "Kunstspiel: Artistic Paradigms at Play in Botho StrauB's Drama Der Park." Focus on Literatur 1 (Spring 1994) 1-8. Book Review, Botho StrauB's Das Gleichgewicht. Focus on Literatur 2 (Fall 1994). Poem, "Beverly, WV." Treasured Poems of America. Sistersville, WV: Sparrowgrass Poetry Forum, 1993. 18. FIELDS OF STUDY Major Field: Graduate Program in German, Supplementary Field: History of Art # vii TABLE OF CONTENTS Ded icat ion.............................................. iv Acknowledgements....................................... v Vita.................................................... vi List of Illustrations.................................. x Chapters: 1. Introduction...................................... 1 Rilke and the Avant-Garde.................... 3 Rilke and Russia............................. 7 Word and Image Theory........................ 12 The Historical Controversy.......... 12 Twentieth-Century Debates........... 19 "Ekphrasis”.......................... 24 Rilke and the Visual Arts.................... 31 "Archalscher Torso Apollos"......... 32 Rilke and Symbolism.................. 36 2. Orthodox Liturgy and Icons........................ 49 Icon Theology............................... 50 The Orthodox Liturgy........................ 61 Icons of Mary............................... 74 Icons of Angels............................. 79 Icons and Modernism......................... 89 3. The Russian Avant-Garde.......................... 92 The Russian Symbolists...................... 96 Vasilii Kandinsky........................... 99 German Expressionism........................ 106 Kandinsky and the Bauhaus................... 113 Kasimir Malevich............................ 118 Orthodoxy and Retrogardism.................. 134 4. Rilke and Russian (Un)Orthodoxy.................. 143 Rilke's Russia Experience......... 148 Russia in Rilke's Early Works............... 155 viii Russia in the Dinggedichte.................. 159 Das Marienleben............................. 165 Darstellung Mariae in Tempel....... 169 Mariae Verktindigung................. 172 Von Tode Mariae..................... 178 Rilke's Russia.............................. 183 5. The Duino Liturgies.............................. 186 The Duino Elegies as Liturgy............... 190 "The Great Synapse:" The First Elegy...... 192 Icons of Intercession: Elegies 2, 3, and 4.. 206 Angel Icons: The Second Elegy..... 207 A Mary Icon: The Third Elegy...... 214 Christ Icons: The Fourth Elegy 217 Transsubstantiation: The Fifth Elegy...... 220 Comnunion: Elegies 6, 1, 8, and 9 ......... 236 Benediction: The Tenth Elegy............... 247 6. Conclusion........................................ 252 Bibliography........................................... 259 ix LIST OF ILLUSTRATIONS Illustration Page 2.1 The Vernlcle, Russian, 16th century(?) Sergiev Posad Museum-preserve (Save and Preserve 15)........................... 51 2.2 St. Luke Paints the Icon of Our Lady, second half of 16th century Tretyakov Gallery, Moscow (Save and Preserve 100).......................... 53 2.3 Iconostasis Church of St. John the Warrior, Moscow (Save and Preserve 20)........................... 62 2.4 The Vision of the Ladder of St. John Climacus, Novgorod School, first half of the 16th century Tempera on panel, 63.3 x 44 cm. St. Petersburg, Russian Museum. (Bird 28)......................................... 64 2.5 The Last Judgement (Vorobyev 33).................................... 68 2.6 Our Lady of Vladimir, early 12th century. Tretyakov Gallery, Moscow (Save and Preserve 109)......................... 75 2.7 Dionysius, Our Lady Hodigitria, 1502-1503. Russian Museum,