It Always Gives Watching: the Nothing and the Parahuman in Rilke's Duino
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Rites of Passage: Dionysus and the Chorus of Satyrs1
Universidade de São Paulo, JOHN C. DAWSEY São Paulo, São Paulo, Brazil. RITES OF PASSAGE: DIONYSUS AND THE CHORUS OF SATYRS1 ABSTRACT At the origins of Greek tragedy, in the chorus of satyrs of Dionysian theater, Greeks stared into horror. This observation by Nietzsche is the start- ing point for a discussion of rites of passage and, particularly, of liminal experience. Contribu- tions from contemporary performance and the- ater highlight aspects of this experience. So also, the studies of Julia Kristeva deserve attention. A hypothesis inspired by the writings of Walter Benjamin emerges at the end: vital elements of rites of passage and Dionysian theater have to do with what may be called “margins of margins”. keywords In focus, the double removal of masks (everyday rites of passage, and extraordinary), the subterranean regions of margins of symbols, and the experience of f(r)iction (with margins, f(r)iction, the r between parentheses) in relations between astounding or masks and bodies. Paraphrasing Pascal, the body extraordinary has its reasons of which culture knows not. At everyday margins of margins a double optic is formed: the experience, astounding (or extraordinary) everyday, no sur- corpoiesis prise in the astounding. 1. This article results from research developed as part of the Project “Mother images: drama and montage” (Imagens de mães: drama e montage), Processo CNPq 308691/2012-1. 159 São Paulo, v. 1, n. 1, p. 159 -178, june (2016) I. DIONYSUS AND THE CHORUS OF SATYRS: STARING INTO HORROR I would like to invite listeners on a trip: a discussion about rites of passage.2 Our guide: one of the gods of Ancient Greece, the god of wine Dionysus. -
The Call of Muhammad Nazim Baksh
The Call of Muhammad Nazim Baksh Europe holds some deep Islamic secrets embedded in its history, theology, culture and literature. But none is more amazing than the relationship between a famous 20th century German poet and Islam. Rainer Maria Rilke (1875-1926) is considered one of the German languageʼs greatest poets. His haunting images focus on the difficulty of communion with the ineffable in an age of disbelief, solitude and profound anxiety – themes that tend to position him as a transitional figure between the traditions and the modernist posts. Throughout his life Rilke showed a high opinion of Islam and especially the Prophet Muhammad, peace be upon him. This is obvious in his letters and some of his key poems. Yet not much of this exciting relationship between a European poet and the Blessed Prophet is known or appreciated by the masses. To understand the relationship one has to grasp the relationship between poetry and poets in traditional societies and especially within the Islamic tradition. Tufayl ibn Amr was a man of virtue, leader of the A portrait of Rilke. distinguished tribe of Daws that resided in the southern part Born:4 December 1875 in of the Arabian peninsula during the time of the Prophet Prague. Muhammad. Tufail fed the hungry, comforted those in Died: 29 December 1926 aged distress and provided refuge to asylum seekers. He was 51 in Switzerland. also an outstanding poet capable of expressing subtle emotions in verse. Poetry was to the Arabs what pop songs are to our modern culture. Tufaylʼs conversion to Islam came while on a visit to Mecca. -
Rainer Maria Rilke Duino Elegies
Rainer Maria Rilke Duino Elegies Translated by A. S. Kline 2001 All Rights Reserved This work may be freely reproduced, stored, and transmitted, electronically or otherwise, for any non-commercial purpose. Contents The First Elegy.............................................................................................. 3 The Second Elegy ......................................................................................... 7 The Third Elegy.......................................................................................... 11 The Fourth Elegy ........................................................................................ 15 The Fifth Elegy ........................................................................................... 19 The Sixth Elegy .......................................................................................... 24 The Seventh Elegy...................................................................................... 26 The Eighth Elegy ........................................................................................ 30 The Ninth Elegy.......................................................................................... 34 The Tenth Elegy.......................................................................................... 38 Index by First Line...................................................................................... 44 Notes........................................................................................................... 45 2 The First Elegy Who, if -
Teacher's Resource
TEACHER’S RESOURCE Produced by the Education Department UBC Museum of Anthropology 6393 NW Marine Dr. Vancouver BC, V6T 1Z2 www.moa.ubc.ca [email protected] 2020 Learning Through Puppetry + Play ii TABLE OF CONTENTS CONTENTS Teaching Kit Overview ....................................................................................v Chapter 1 Puppets: An Introduction .............................................................1 In the Teacher’s Resource ............................................................................... 1 In the Kit ......................................................................................................... 1 Stories ............................................................................................................ 2 Making + Performing Puppets ......................................................................... 2 Chapter 2 Bringing Puppets to Life ..............................................................5 Tips for New Puppeteers ................................................................................. 5 Chapter 3 Class Activities ............................................................................9 Puppet Cards ................................................................................................ 10 Care + Handling ............................................................................................ 10 Meet the Puppets .......................................................................................... 11 BIG IDEAS • Puppetry is shared -
Download the Digital Booklet
ORIGINAL TELEVISION SOUNDTRACK A GERRY ANDERSON PRODUCTION MUSIC BY BARRY GRAY Calling International Rescue... Palm Treesflutterandthesoundofdistantcrashingwaves echoaroundaluxuriouslookinghouse.Suddenlyalow gravellyhumemergesfromaswimmingpoolasitslides aside,revealingancavernoushangerbelow.Muffled automatedsoundsecho,beforeanalmightyroarfollowedby thelightning-fastblurofarocketasitshootsskyward.Thisis Thunderbird1,high-speedreconnaissance craft,pilotedbyScottTracy. Momentsago,Scott’sbrotherJohn radioed-inadistresscallfromThunderbird5, amannedorbitalsatellite.Alifeis indangerwithallhopelost,except foronepossibility:International Rescue.JeffTracy,theboys’father assessesthesituationandduly deployshissonsintoaction. AsThunderbird1propelsitself towardsthedangerzone(now inhorizontalflight),itsfellowcraft Thunderbird2isreadiedforlaunch.This giantgreentransporterstandsontop ofaconveyer-beltofsixPods,each containingadifferentarrayoffantastic rescueequipment.WiththenecessaryPod selected,VirgilTracy(joinedbybrothers AlanandGordon)taxisthehugevehicleto thelaunchramp,whichraisesthecraftto40 degreesbeforeittooblastsskywards.International Rescueareontheirway,Thunderbirdsarego! Inspiredbythisdramaticevent,forhisnexttelevisionseriesGerry Approaching Danger Zone... Andersonenvisionedanorganisationpreparedforsucheventualities IntheAutumnof1963,writerandproducer -
Making Marionette (Puppets) from Paper Pulp by Karen Elzinga
Making Marionette (Puppets) from Paper Pulp By Karen Elzinga Recommended for children Grade 6 and above if done as a class activity. What Ingredients do l need? -Recycled paper or copy paper - Plastic drinking straws - Strong string - Sticks or as l have used old wooden vertical blinds cut down to size. - Drill (Preferable but not a necessity) - Plaster faces (you can just use the pulp but if you want more life like then these are great (They are available in the shop, CLICK HERE to view them. For larger quantities just email in for a quote. -Paint and decorative items (fabric, hair, wool etc) tissue paper is a great item for dressing as is feathers. - Large needle or skewer for threading body bits together through the straws -Tub or blender - No nails glue or craft glue - Patience!! TWO METHODS FOR PULPING PAPER The first method for pulping paper is to use a The second method is to use a tub, this is food blender, adding a bit of paper in stages to very effective if larger quantities are required. a blender, this is a quick method and very Add hot water to the tub and immerse paper, effective for smaller quantities. You can use you can use cold water the process of paper sort of recycled paper, but make sure to take breakdown just takes longer. Leave the tub out sticky tape or staples prior to pulping. and paper alone for at least 30 mins, an hour is preferable at minimum. If using as a school project and you wish students to be involved in the process you can decant paper and HOW TO TURN PAPER INTO PULP water into smaller tubs and have students work the paper into pulp. -
Hannah Arendt: the Appearances of Estrangement
70 HANNAH ARENDT: THE APPEARANCES OF ESTRANGEMENT DOI: https://doi.org/10.26694/ca.v1i1.11001 HANNAH ARENDT: THE APPEARANCES OF ESTRANGEMENT Jerome Kohn The times we live in are perverse in diverse ways, not only, but also not least, politically. In 2016 we elected a president whose appear- ance in public is avaricious, destructive, deceitful, predatory, and incoherent. It would be hard to imagine a Balzac or Dickens depict- ing a fictional character more brazenly self-absorbed than this brag- gart who has no hesitation in calling himself “like, really smart.” Was it Trump alone who visualized himself presiding over—liter- ally, sitting before — more than 300 million Americans? According to him, that qualifies “as not smart, but genius.” But what are the odds, one wonders, of this vulgarian stinging and awakening us, the people, from the political narcolepsy we’ve dreamed in for the past 50 years? THE WORD “ESTRANGEMENT” WILL BE USED HERE, AT LEAST IN PART, TO avoid the word “alienation,” especially in its association with the thought of Karl Marx, and, to a lesser extent, Sigmund Freud. This pres- ents a certain linguistic problem as far as Hannah Arendt is concerned. She detested Freudianism, or “depth psychology,” as she ironically called it, considering it a primary symptom of the various disorders it affects to alleviate. She was never a Marxian, though she held Marx as a thinker in high regard: his thought, after all, has influenced and moved greater numbers of men and women to act than that of any other philosopher in western history. -
The Power of the Puppet
Union Internationale de la Marionnette The Power of the Puppet Editor Livija Krofl in The UNIMA Puppets in Education, Development and Therapy Commission Croatian Centre of UNIMA Zagreb, 2012 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 3 112.6.20122.6.2012 117:46:387:46:38 THE POWER OF THE PUPPET Publishers The UNIMA Puppets in Education, Development and Therapy Commission Croatian Centre of UNIMA Editor Livija Krofl in English Language Editor Meg Amsden Reviewers Iva Gruić, Ph.D Prof. Dr. Robi Krofl ič Dr Peter Lang Layout, Design & Printed by Teovizija, Zagreb A print run of 400 copies © UNIMA 2012 All Rights Reserved A CIP catalogue record for this book is available from the National and University Library in Zagreb under 804855 ISBN 978-953-96856-6-7 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 2 112.6.20122.6.2012 117:46:387:46:38 CONTENTS PREFACE Livija Krofl in . 7 Art as a Pathway to the Child Edi Majaron . 11 Aff ective Education through the Art of Animation Theatre Ida Hamre. 18 Playing with Puppets in Class – Teaching and Learning with Pleasure Helena Korošec . 29 The Role of the Puppet in Language Teaching Livija Krofl in . 46 Puppetry for Development Cariad Astles . 63 The Politics of Applied Puppetry Matt Smith . 79 Being Carbon Neutral Meg Amsden . 86 Puppets and the Emotional Development of Children – an International Overview Barbara Scheel . 96 Biographies of the Authors . 107 Index of names . 113 Index of terms. 116 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 5 112.6.20122.6.2012 117:46:397:46:39 PREFACE The power of the puppet shows itself in diverse fi elds: not only in the puppet theatres, not only in rituals and magical spells, but also in the broad range of education and therapy. -
Rainer Maria Rilke – Ninth Duino Elegy
Rainer Maria Rilke – Ninth Duino Elegy This was a very long mailing. That seems to me appropriate, since it is on what I consider to be one of the very greatest of all poems, Rainer Maria Rilke’s “Ninth Duino Elegy.” The poem itself is two pages. I take it up as I usually do, line by line, stanza by stanza. So just printing the poem twice takes up four pages. The poem has two, and maybe three, remarkable aspects. The ‘maybe’ refers to the conditions of its coming-into-being, at the end of a truly extended writer’s block. The second is that what it proposes, which is an ‘answer’ to one of the central questions we as humans face: ‘Why do we exist?” The answer is so stunning that I don’t know how to deal with it. (In sum, he says we exist because the things in the world need us, need us to turn the object world into consciousness, and more specifically, into words. How’s that for an answer? Strange, disquieting, isn’t it? We wonder if it can possibly be true.) The third is this: There are rare moments when art rises into something we can only marvel at. Piero della Francesca’s “The Story of the True Cross,” Mozart’s “The Marriage of Figaro,” Bach’s “The Well-Tempered Clavier,” Matisse’s cut-outs. “Absalom, Absalom” by Faulkner, “Asphodel, that Greeny Flower” by Williams, Whitman’s “Song of Myself,” Shakespeare’s “King Lear.” In that august company, the height of human achievement, I would put this poem. -
An Interpreter's Guide to Rainer Maria Rilke
Illinois Wesleyan University Digital Commons @ IWU Honors Projects Theatre Arts, School of 1968 An Interpreter's Guide to Rainer Maria Rilke Joseph A. Leese '68 Follow this and additional works at: https://digitalcommons.iwu.edu/theatre_honproj Part of the Speech and Rhetorical Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Leese '68, Joseph A., "An Interpreter's Guide to Rainer Maria Rilke" (1968). Honors Projects. 13. https://digitalcommons.iwu.edu/theatre_honproj/13 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. 1I111nols Wesleyan Un'1"v. LloI'lU'!elll Bloomington, Ill. 61701 An Interpreter's Guide to I Rad.ner Maria; Rilke by Joseph A. Leese # "RCHIVE,s PT Submitted for Honors Work In the Department of Speech Illinois Wesleyan University Bloomington, Illinois 1968 �rrrnors Wesleyan Vniv. Libraries Bloomington, Ill. 61701 Accepted by the Department of Speech of Illinois Wesleyan University in fulfillment of the requirement for departmental honors. ��:'�lQ� Proje t Adnser Dedicated to Dr. -
Duino Elegies & the Sonnets to Orpheus a Dual-Language Edition
DUINO ELEGIES & THE SONNETS TO ORPHEUS A DUAL- LANGUAGE EDITION 1ST EDITION DOWNLOAD FREE Rainer Maria Rilke | 9780307473738 | | | | | Duino Elegies & The Sonnets to Orpheus: A Dual-Language Edition (Vintage International) (Paperback) Sonety do Orfeusza Hardcover. I need more Rilke! And Daphne, becoming a laurel, dares you to become the wind. Metamorphoses by Ovid. I will definitely recommend this book to poetry, classics lovers. The Elegies speak to a part of my inner self I didn't know outside words could get in to. Wir ordnens. I just don't like it when the translation sounds pretentious when it can be avoided, as it becomes in a way more about showing off as a translator and less about accuracy of language. Translator. Rainer Maria Rilke. Oh, this is strange, passionate, poetry that is concerned with music, death,love, life, ecstacy--but trying to get at those things thru language. In The Spotlight. That you know every breeze which, among the blossoms they bear, is intensified till it almost becomes a face. Published April 17th by W. Yes, there is a certain stylistic charm, probably unusual for the time, but not unusual by current standards. Jan 14, B. In letters to friends, Rilke referred to this three-week period as a "savage creative storm. About This Item. This is, without any doubt, the best English rendering of Rilke. Jan 03, Niara Martins rated it really liked it. The earth is like a child that knows poems by heart, many, o many. I was not particularly taken with his work. Sidney Keyes: A Biographical Enquiry. -
In Rainer Maria Rilke's the Sonnets to Orpheus
Re-visiting The Myth Of ‘Orpheus’ In Rainer Maria Rilke’s The Sonnets To Orpheus Ms. Kanchan Assistant Professor of English Department ofBasic & Applied Sciences Punjabi University Patiala, Punjab, INDIA Rainer Maria Rilke, a Bohemian-Austrian poet and art critic (4 December 1875 – 29 December 1926), is one of the significant poets in the German language. Rilke is a transitional figure in twentieth century European literature, midway between the traditional and modern movements within poetry. His work struggles with the difficulty of union with the transcendent, in an age of anxiety, disbelief, and isolation. He wrote more than 400 poems in French, dedicated to his homeland of choice, the canton of Valais in Switzerland. Rilke‘s Sonnets to Orpheus (1922) isa series of fifty-five poems indissolubly linked to Greek myth.Rilke dedicated this to Vera OuckamaKnoop, a young girl who was a talented dancer but died of leukemia as a teenager. The Sonnets are ‗little songs‘ (sonetti in Italian) sung by Orpheus, the legendary musician and poet in ancient Greek religion and myth whose divine music charmed all living things and moved inanimate objects. Overcome with grief at the death of his wife, Eurydice, Orpheus played beautiful mournful music on his lyre that the gods of the underworld allowed him to retrieve her from there on the condition that he walk in front of her on their journey back to the earth and not look back. Due to his fear of losing her again he did look back and lost Eurydice forever. In Ovid‘s version of the story Orpheus was torn apart by the Maenads, female devotees of Dionysus, during a drunken orgy when they were enraged because he had spurned the love of women since losing his wife and had taken only young men as lovers.