Being Political and the Reconstruction of Public Discourse: Hannah Arendt
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It Always Gives Watching: the Nothing and the Parahuman in Rilke's Duino
Filozofski vestnik Volume/Letnik XXVI • Number/Številka 2 • 2005 • 161–171 IT ALWAYS GIVES WATCHING: THE NOTHING AND THE PARAHUMAN IN RILKE’S DUINO ELEGIES Miglena Nikolchina A well known story has it that Rainer Maria Rilke heard the first sentence of what was to become the first of his Duino Elegies while a strong Bora was blow- ing up from the sea. It was January 1912 and Rilke was staying at the Duino Castle on the Adriatic as a guest of Princess Marie von Thurn und Taxis- Hohenlohe. It is she who provides the anecdote according to which, while Rilke was walking by the sea, it seemed to him that in the raging of the storm a voice had called to him: ‘Who, if I cried out, would hear me among the angelic orders?’…. He took out his notebook, which he always carried with him, and wrote down these words …1 A voice from the storm – a disembodied voice without a source – cries out a question to Rilke. Instead of answering – and, indeed, although an- gelic perception of the world will run as one of the persistent queries of the Elegies, whom and in what capacity could Rilke answer regarding the hearing of angels? – Rilke writes the question down. The question does not expect an answer and in a way hopes that there would be no answer: for, we are told, if by any chance an angel would press the poet to his heart, the poet would be consumed in the angel’s stronger existence. The question cried out at the poet by nobody is reflected back as the poet’s own question to nobody. -
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 -
Handbook on Judaica Provenance Research: Ceremonial Objects
Looted Art and Jewish Cultural Property Initiative Salo Baron and members of the Synagogue Council of America depositing Torah scrolls in a grave at Beth El Cemetery, Paramus, New Jersey, 13 January 1952. Photograph by Fred Stein, collection of the American Jewish Historical Society, New York, USA. HANDBOOK ON JUDAICA PROVENANCE RESEARCH: CEREMONIAL OBJECTS By Julie-Marthe Cohen, Felicitas Heimann-Jelinek, and Ruth Jolanda Weinberger ©Conference on Jewish Material Claims Against Germany, 2018 Table of Contents Foreword, Wesley A. Fisher page 4 Disclaimer page 7 Preface page 8 PART 1 – Historical Overview 1.1 Pre-War Judaica and Jewish Museum Collections: An Overview page 12 1.2 Nazi Agencies Engaged in the Looting of Material Culture page 16 1.3 The Looting of Judaica: Museum Collections, Community Collections, page 28 and Private Collections - An Overview 1.4 The Dispersion of Jewish Ceremonial Objects in the West: Jewish Cultural Reconstruction page 43 1.5 The Dispersion of Jewish Ceremonial Objects in the East: The Soviet Trophy Brigades and Nationalizations in the East after World War II page 61 PART 2 – Judaica Objects 2.1 On the Definition of Judaica Objects page 77 2.2 Identification of Judaica Objects page 78 2.2.1 Inscriptions page 78 2.2.1.1 Names of Individuals page 78 2.2.1.2 Names of Communities and Towns page 79 2.2.1.3 Dates page 80 2.2.1.4 Crests page 80 2.2.2 Sizes page 81 2.2.3 Materials page 81 2.2.3.1 Textiles page 81 2.2.3.2 Metal page 82 2.2.3.3 Wood page 83 2.2.3.4 Paper page 83 2.2.3.5 Other page 83 2.2.4 Styles -
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. -
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. -
SPOTLIGHT 073 Wordtrade Reviews: Hiding Time
Wordtrade.com| 1202 Raleigh Road 115| Chapel Hill NC 27517| USA SPOTLIGHT ph 9195425719| fx 9198691643| www.wordtrade.com 073 Wordtrade Reviews: Hiding Time Table of Contents HIDING IN PLAIN SIGHT: THE INVENTION OF DONALD TRUMP AND THE EROSION OF AMERICA by Sarah Kendzior [Flatiron Books, 9781250210715] THE END OF OCTOBER: A NOVEL by Lawrence Wright [Knopf, 9780525658658] BREAKING THROUGH SCHIZOPHRENIA: LACAN AND HEGEL FOR TALK THERAPY by Wilfried Ver Eecke [New Imago, Rowman & Littlefield Publishers, 9781538118009] KRISHNAMURTI IN AMERICA: NEW PERSPECTIVES ON THE MAN AND HIS MESSAGE by David Edmund Moody [David E Moody, 9781734227819] C. G. JUNG AND THE DEAD: VISIONS, ACTIVE IMAGINATION AND THE UNCONSCIOUS TERRAIN by Stephani L. Stephens [Routledge, 9780815366126] THE REALITY GAME: HOW THE NEXT WAVE OF TECHNOLOGY WILL BREAK THE TRUTH by Samuel Woolley [PublicAffairs, 9781541768253] THE COST OF LOYALTY: DISHONESTY, HUBRIS, AND FAILURE IN THE US. MILITARY by Tim Bakken [Bloomsbury Publishing, 9781632868985] THE RULE OF FIVE: MAKING CLIMATE HISTORY AT THE SUPREME COURT by Richard J. Lazarus [Belknap Press: An Imprint of Harvard University Press, 9780674238121] THE POWER WORSHIPPERS: INSIDE THE DANGEROUS RISE OF RELIGIOUS NATIONALISM by Katherine Stewart [Bloomsbury Publishing, 9781635573435] BROKEN FAITH: INSIDE THE WORD OF FAITH FELLOWSHIP, ONE OF AMERICA'S MOST DANGEROUS CULTS by Mitch Weiss and Holbrook Mohr [Hanover Square Press, 9781335145239] DANIEL JOHNSTON: A PORTRAIT OF THE ARTIST AS A POTTER IN NORTH CAROLINA by Henry Glassie, Photography and Drawings by the Author [Indiana University Press, 9780253048431] RECOLLECTIONS OF MY NONEXISTENCE: A MEMOIR by Rebecca Solnit [Viking, 9780593083338] SURREALISM, OCCULTISM AND POLITICS IN SEARCH OF THE MARVELLOUS edited by Tessei M. -
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. -
The Question of the Technique in Rainer Maria Rilke's (1875-1926)
Global Journal of HUMAN-SOCIAL SCIENCE: A Arts & Humanities - Psychology Volume 17 Issue Version 1.0 Year 2017 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Inc. (USA) Online ISSN: 2249-460x & Print ISSN: 0975-587X The Question of the Technique in Rainer Maria Rilke’s (1875-1926) “Sonnets to Orpheus” (1922) By Otto Doerr-Zegers Introduction- All the cycle of the 55 Sonnets to Orpheus was written by Rainer Maria Rilke in a rapture of inspiration in February, 1922, some days after having finished his famous Duino Elegies. What stimulated him to do it was the death in 1919 of a young and beautiful dancer, Wera Ouckama-Knoop, for whom he felt great admiration. In a letter to Margot Sizzo of April 12, 1923, the poet speaks of her in the following terms: “This beautiful girl, who began first to dance and draw the attention of all who saw her by her innate art of movement and transformation, declared one day to her mother that she could or would not dance anymore (…). Her body changed in a very peculiar way: without losing its beautiful Asiatic features, it became strangely heavy and solid … (which already signaled at the beginning of her mysterious glandular disease, which so soon led to her death). In the time that remained to her, Wera dedicated herself to music and, finally, only to drawing, as if dance were to be cut off from her more and more gently and discretely, but never outright.”. GJHSS-A Classification: FOR Code: 190499 TheQuestionoftheTechniqueinRainerMariaRilkes18751926SonnetstoOrpheus1922 Strictly as per the compliance and regulations of: © 2017. -
Heidegger's Turn to Poetry
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Truth and Being: Heidegger's Turn to Poetry Alexandra J. Pell Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Continental Philosophy Commons, and the Philosophy of Language Commons Recommended Citation Pell, Alexandra J., "Truth and Being: Heidegger's Turn to Poetry". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/198 1 Truth and Being: Heidegger’s Turn to Poetry Alexandra Pell April 22, 2012 2 Table of Contents Introduction … 3 1 | Articulating Being … 7 1.1 | Revealing Truth 2 | Dwelling in the Abyss … 18 3 | Critical Responses … 32 3.1 | Adorno & Formal Implications 3.2 | Lacoue-Labarthe & Political Implications 4 | Remembrance … 47 Conclusion … 58 Bibliography … 59 3 Introduction | Language first emerged as a philosophical topic in Ancient Greece when Plato initiated the question of how things in the universe came by their names. With the subsequent development of Aristotelian nominalism, objects came to be understood and named according to a commonality of forms. Both thinkers focused on language as it provided man with his ability to communicate and designate things both in themselves and as they were perceived. However, it was Aristotle’s phenomenology that would serve to inspire Martin Heidegger’s study of Being and language’s role in its origination and perpetuation. Language is generally conceived of as the medium through which man performs both written and verbal communication, though there are many differing perspectives to consider when approaching a study of the essence of language.