%0 Journal Article
%T Rilke contra Wagner. Rilke¡¯s early concept of Music and the Convergence of the Arts around 1900
%A Jacob-Ivan Eidt
%J Studia Theodisca
%D 2011
%I Universit¨¤ degli Studi di Milano
%R 10.6092/1593-2478/1364
%X This article examines Rainer Maria Rilke¡¯s fundamental distinction between the essence of music and poetry, concentrating on his earliest encounters with music around 1900 and their impact on his poetics. It places Rilke¡¯s concept of music into the cultural con-text of the romantic experience and reception of music and the other arts in Germany at the turn of the century. Rilke¡¯s early understanding is ultimately negative, deviating from the popularly held belief in fin de si¨¨cle Europe that all the arts are not just compatible but also in essence identical. For Rilke there can be neither a Wagnerian Gesamtkunswerk nor a greater underlying principle around which the arts could be united, despite his enthusias-tic integration of the visual arts into his poetics.
%U http://riviste.unimi.it/index.php/StudiaTheodisca/article/view/1364