Abstract In diesem Artikel, der zusammen mit meinem Kollegen und Mitübersetzer Lawrence Flores Pereira abgefasst wurde, beginnen wir mit Gedanken zu den spezifischen Schwierigkeiten der Übersetzung von Musils Vereinigungen. Basierend auf Peter Utz’ Beiträge zur Übersetzungstheorie, soll besonders das Problem beachtet werden, dass, laut Musil, das Erzählte weniger „verstanden“, als nachempfunden werden sollte, so dass mögliche Sinnzusammenhänge nur über den Um-Weg von fliessenden Gefühlen rekonstituiert werden können. Dieses Verzichten auf rationelle Verständlichkeit nähert sich Musils Prosa der symbolistischen Methode, die Stephan Mallarmé in seinem Brief an Henri Cazalis im Oktober 1864 erwähnte. Im Anschluss daran werden Alternativen zu einer sehr kritischen Rezension Michael Hofmanns zu Peter Wortsmanns amerikanischer Version der Vereinigungen, Intimate Ties, in Erwägung gebracht. Die Argumente und Lesart des Kritikers soll auf ihre kritische und hermeneutische Stichhaltigkeit untersucht werden, indem wir die erste portugiesische Übersetzung mit der gleichzeitig fertiggestellten des austro-amerikanischen Schriftstellers und Übersetzers Peter Wortsmann vergleichen und dabei auch auf die Übersetzungen von Jaccottet und Wilkins-Kaiser zurückgreifen. Artikel wurde Vereinigungen Utz Übersetzungstheorie Musil „verstanden, verstanden „verstanden , „verstanden“ sollte UmWeg Um Weg können Methode 186 erwähnte Ties gebracht austroamerikanischen austro amerikanischen WilkinsKaiser Wilkins Kaiser zurückgreifen 18 1

Abstract In this article, co-authored with my colleague and co-translator Lawrence Flores Pereira, we begin with thoughts on the specific difficulties of translating Musil's Unions. Based on Peter Utz's contributions to translation theory, particular attention will be paid to the problem that, according to Musil, the narrative should be less "understood" and rather more sensitively "felt", so that possible contexts of meaning can only be reconstituted followin the labyrinth of flowing emotions. This renunciation of rational comprehensibility brings Musil's prose closer to the symbolist method mentioned by Stephan Mallarmé in his letter to Henri Cazalis in October 1864. In the final part, we will consider alternative approaches to a highly critical review by Michael Hofmann of Peter Wortsmann's American version of The Unions, Intimate Ties. The critic's arguments and reading will be examined for their critical and hermeneutical validity by comparing the first Portuguese translation with the simultaneously completed one by the Austro-American writer and translator Peter Wortsmann, also drawing on the translations by Jaccottet and Wilkins-Kaiser. article coauthored co authored cotranslator Pereira Musils Musil s Unions Utzs Utz theory understood "understood felt, felt , "felt" emotions 1864 part Wortsmanns Wortsmann Ties critics critic AustroAmerican Austro WilkinsKaiser. WilkinsKaiser Wilkins Kaiser. Kaiser Wilkins-Kaiser "felt 186 18 1

Resumo Este artigo apresenta o Réquiem a uma Amiga (tradução no final do artigo) com algumas reflexões ensaísticas sobre o lugar desse poema na obra do poeta R. M. Rilke. Iniciaremos com observações biográficas (os encontros do poeta com a escultora Clara Westhoff e sua amiga Paula em Paris em 1900) que ocasionaram o estudo da pintura de paisagem e um pequeno livro de ocasião de Rilke sobre a colônia de artistas de Worpswede, no norte da Alemanha. O forte impacto que esses encontros - e em particular a análise das telas de Paula Modersohn-Becker em 1905 - tiveram sobre a sensibilidade poética de Rilke contribuíram para a nova forma estilística (Dingwendung) que se manifesta na obra madura de Rilke. Apresentamos assim um momento de vida e um aspecto específico do desenvolvimento da relação do poeta e de sua obra com as artes plásticas, que ilumina o papel da poesia como trabalho de luto do poeta e como prefiguração das obras da fase madura dos Sonetos e das Elegias.

Abstract This paper presents Rilke’s Requiem to a Friend (with a translation at the end of the article) with some essayistic reflections on the place of this poem about Paula Modersohn-Becker’s death in the life and the work of the poet. We will begin with biographical observations about Clara Westhoff and her friend Paula meeting Rilke in Paris in 1900 - an encounter that occasioned the study of landscape painting and a small book by Rilke about the artist colony of Worpswede in northern Germany. The strong impact that these encounters - and in particular the analysis of Paula Modersohn-Becker's canvases in 1905 - had on Rilke's poetic sensibility contributed to the new stylistic form (Dingwendung) that manifests itself in Rilke's mature work. We thus present a moment in life and a specific aspect of the development of the relationship of the poet and his work to the fine arts, and of poetry as an artistic process of mourning which announces the mature phase of the Sonnets and the Elegies.

Abstract This article addresses, in its first part, the many critics who have difficulty in making sense of Coetzee’s two novels The Childhood of Jesus and Schooldays of Jesus, offering clues for an understanding of Coetzee’s utopian thought experiment within the framework of secularized utopian and Christian ideals. The second part links the utopian elements with esthetic and esoteric conceptions in the history of art (Johann Sebastian Bach, archaic cultures, and the revival of neo-mysticism among artists of the 20th century), proposing an understanding of their implications (or their obsoleteness) in contemporary art.

Resumo: Desde o pré-romantismo alemão, a música mantém relações cada vez mais íntimas com a poesia e a literatura. Rastreamos aqui alguns dos modos de aproximação destas duas formas diversas de expressão artística, mostrando como a literatura explora a alteridade da música para intensificar as dimensões afetivas e reflexivas da poesia. Trata-se de uma tradição poderosa que se estende de românticos como Hölderlin e Tieck até Rilke e além, ocupando um lugar de destaque no pensamento de Schopenhauer, Nietzsche, Heidegger. As reflexões de Rilke recebem um lugar de destaque neste artigo, mediante a tradução de suas anotações de leitura do famoso ensaio de Nietzsche, O nascimento da tragédia a partir do espírito da música.

Abstract: Since German pre-romanticism, music has being keeping a closer relationship with poetry and literature. We have collected a few ways of approaching these two different forms of art expression, demonstrating how literature explores the alterity of music in order to intensify the affective and reflexive emotions of poetry. It deals with a powerful tradition that comprises 'romantic' authors from Hölderlin to Tieck to Rilke, and play an important role in the reasoning of Schopenhauer, Nietzsche and Heidegger. Rilke's reflections have been given special emphasis in this article, which is shown by means of his translated reading notes of the famous essay The Birth of Tragedy through the Spirit of Music.

Este artigo sobre as relações ambivalentes entre Musil e Freud procede em três etapas. Na primeira, analisamos as intuições psicanalíticas de Musil no seu primeiro romance, O jovem Törless. Os insights psicológicos do romancista acompanham e antecipam as descobertas clínicas do pai da Psicanálise. A segunda se debruça sobre os trabalhos seminais (Corino, Henninger, entre outros) que veem as reservas de Musil diante de Freud como resistências sintomáticas e evidenciam a determinação inconsciente de sua obra. A terceira expõe outras razões (estéticas e teóricas) para a reserva do artista. Estas não excluem, mas se adicionam às resistências sintomáticas. Musil dispõe de um referencial científico e matemático, filosófico e estético diferente da Psicanálise; ele se manifesta no projeto sui generis das novelas Uniões (a segunda obra de Musil após o Törless).

This article approaches the ambivalent relations between Musil and Freud. It proceeds in three sections. The first analises the spontaneous psychoanalytical intuitions Musil exposes in his first novel, The confusions of young Törless. The psychological insights of the novelist accompany and also anticipate the discoveries of the father of psychoanalysis. The second section exposes the seminal studies of Corino and Henninger (among other authors) who see Musil's reserved attitude towards Freud as a symptomatic resistence and interpret the unconscious determination of his work. The third exposes other reasons (aesthetic and theoretical arguments) which explain the author's reluctance, without excluding the resistencetheory. Musil has a vast scientific and mathematical, philosophical and aesthetic framework of references which differs from psychoanalysis. It emerges in his project which underpins the novels Nupcias (Musil's second work after Törless).

Musil costuma usar o termo Dichter, poeta, como um título de maior dignidade para grandes mestres (opondo esse termo à palavra mais contemporânea Schriftsteller, escritor). Esse uso sustenta a ideia das qualidades especificamente poéticas da literatura (e da sensibilidade poética da crítica), reagindo contra as tendências contemporâneas de fundir os discursos literários ou com a pura sensação, ou com outras formas discursivas. Partindo de Törless e de alguns ensaios de Musil, esse artigo mostra como Musil entende a relação entre o pensamento racional e as ideias latentes que emergem da dimensão poética (do "outro estado da mente" ou da "outra condição"). A abordagem ilumina a concepção musiliana de "precisão e alma", isto é, o entrelaçamento entre percepção sensitiva e rigor intelectual como uma condição para a busca de valores literários e existenciais.

Musil uses the word Dichter, poet, as a dignified title reserved for artists of great achievement (different from Schriftsteller, writer). His use of the word emphasizes the importance of the specifically poetic qualities of literature (and of the poetic sensibility of criticism,) not as an idle objection to the contemporary merging of literary works with either pure sensation and feeling, or with other forms of discourse. Focusing on Törless, as well as on Musil's notebooks and essays, this article shows how Musil understands the relationship between rational thinking and the latent ideas and thoughts that emerge within the poetic dimension (the 'other state of mind" or 'other condition.') This approach illuminates Musil's conception of "precision and soul" - the interlocking of sensitive perceptiveness and intellectual rigor - as a necessary pre-condition for valuable literature and valuable life.

Este artigo apresenta uma análise da última novela de Kleist, O Noivado em Santo Domingo. Em vez de concentrar a atenção sobre o enredo passional, abordaremos a crise da forma narrativa suspensa entre crônica, novela e romance. Realçaremos os conflitos políticos e culturais que afloram desde o primeiro terço da narrativa, antes da eclosão da paixão entre o oficial europeu Gustav e a mestiça Toni. No centro da análise está o uso irônico dos dados históricos e biográficos da época em que Kleist escreveu esta obra (inspirado pelos acontecimentos políticos em Santo Domingo, na França e na Alemanha da primeira década do século 19). A perspectiva valoriza a arte e a maestria com que Kleist dramatiza sentimentos extremamente complexos que sugerem inúmeros pensamentos implícitos. Uma apresentação crítica da bibliografia das últimas décadas completa o ensaio.

This article presents an analysis of Kleist’s last novella, Betrothal in Santo Domingo. Instead of concentrating our attention on the sentimental plot, our approach will focus on the first third of the text, which prepares the development of the passionate love between the European official Gustav and the mestice girl Toni. A few historical and biographical aspects referring to the time when Kleist wrote this novella will illuminate Kleist’s artful use of irony and his subtle dramatization of highly complex feelings and thoughts. A critical presentation of the bibliography gives a synthetic picture of Kleist-studies in the past decades.

Analisa-se a insistente simbologia fálica na tragédia de Sófocles. Discute-se os elos poéticos entre as imagens da integridade física que favorecem os potenciais naturais e libidinosos (as afinidades do herói com daimones como Pã ou Sátiros) e as figuras do saber e das conquistas intelectuais (cujo herói paradigmático é Prometeu).

This article analyses the insistent phallic symbols in Sophocles' tragedy. It discusses the poetical links between images of physical integrity favoring natural, libidinous potentials (Oedipus' affinities with demons like Pan or Satyrs) and the figures of knowledge and intellectual achievement (whose prototype is Prometheus).