By moving from the ancient to the modern, from the “Torso” to Cézanne, and from Bild to Bildung, this article examines Rilke’s endeavor to expand his perception through art in order to accommodate specific fragmented and repulsive objects. In this context, Rilke’s use of ekphrasis does not simply enable a poetic victory in which ne art comes to life, but offers a specific form of aesthetic reflection that opens doubling valences. While critics have traditionally described his writing in terms of a bridge from material fragmentation to triumphant aesthetic totality, the refusal of these two registers to align once and for all seems to account for a large part of the fascination that his work continues to inspire. Rainer Maria Rilke has the highest hopes for works of art, both in their perfection and their commitment to disjunctive ruin.
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