Silke Pasewalck, "Die fünffingrige Hand". Die Bedeutung der sinnlichen Wahrnehmung beim späten Rilke. 2002
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| 035 | |a (NATIONALLICENCE)gruyter-10.1515/ARBI.2004.88 | ||
| 100 | 1 | |a Robertson |D Ritchie |u University of Oxford, St John's College, Oxford OX1 3JP, Great Britain. ritchie.robertson@sjc.ox.ac.uk | |
| 245 | 1 | 0 | |a Silke Pasewalck, "Die fünffingrige Hand". Die Bedeutung der sinnlichen Wahrnehmung beim späten Rilke. 2002 |h [Elektronische Daten] |c [Ritchie Robertson] |
| 520 | 3 | |a While the importance of sensory perception in Rilke's work is generally acknowledged, the consensus till recently has been that its first phase is dominated by sight (the visuality of the Neue Gedichte, Malte's "Ich lerne sehen”), its later phase by hearing (the prominence of music in the Sonette an Orpheus). Silke Pasewalck questions this simple pattern. She finds a crisis of perception in Rilke's work around 1912-1914, recorded in his letters from Spain (where visual perception proved insufficient to respond to the Spanish landscape), in the Gedichte an die Nacht, and in the famous programmatic poem Wendung. Thereafter, she argues, the poetic response to the empirical world involves all five senses, including the ‘lower' senses of touch, taste and smell which were long considered beneath the dignity of poetry. Here the author is expanding an argument by Anke Bennholdt-Thomsen, the supervisor of the thesis on which this book is based, that space in the poetry of Rilke and Celan is constituted by the interplay of all the senses. Pasewalck develops this argument in great detail, drawing on a thorough knowledge of Rilke's work, Rilke scholarship, and theoretical reflections on epistemology and sense-perception since the Enlightenment. | |
| 540 | |a © Max Niemeyer Verlag GmbH, Tübingen 2004 | ||
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| 950 | |B NATIONALLICENCE |P 100 |E 1- |a Robertson |D Ritchie |u University of Oxford, St John's College, Oxford OX1 3JP, Great Britain. ritchie.robertson@sjc.ox.ac.uk | ||
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