Readers of Rilke's writings on Rodin may well be surprised to find them just as full of isolated body parts as is his notoriously fragmentary novel, Die Aufzeichnungen des Malte Laurids Brigge. Here they are not gruesome, but part of an aesthetic mereology (system of parts and wholes) that governs, at least according to Rilke, the metaphysics of the artwork. Not only are these body parts separable from the whole work, or person, but the sensory interactions between them seem also to obey their own laws: in Rodin, they help bring about and maintain what is called the ‘Kunst-Ding’ as a differentiated object belonging in, but not to, the world of everyday things; in Malte, in the faces that don't fit and hands that don't follow orders, grotesque sensory misidentifications stymie the desire to be ‘wirklich’, and recognition is a verbal, not visual, matter. The two texts are drawn together in their shared project of positing a theory of aesthetic creation in which the senses are used by both creator and viewer to bring about the art-work as a wholly unique and self-governed entity — and the problems of this project are exposed.

中文翻译：

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意义：里尔克的奥古斯特·罗丹和马耳特·劳里兹布里奇的手、脸和创作

里尔克关于罗丹的著作的读者很可能会惊讶地发现，它们就像他臭名昭著的零散小说一样，充满了孤立的身体部位，Die Aufzeichnungen des Malte Laurids Brigge。在这里，它们并不令人毛骨悚然，而是一种审美 mereology（部分和整体的系统）的一部分，至少根据里尔克的说法，它支配着艺术品的形而上学。这些身体部位不仅可以与整个作品或人分开，而且它们之间的感官互动似乎也遵循它们自己的规律：在罗丹那里，它们有助于产生和维持所谓的“艺术丁”对象属于但不属于日常事物的世界；在马耳他，不合身的脸和不服从命令的手，怪诞的感官错误识别阻碍了成为“wirklich”的愿望，而承认是一种口头的，不是视觉的，重要的。这两个文本在他们共同的项目中被结合在一起，提出了一种美学创作理论，其中创作者和观众都使用感官来使艺术作品成为一个完全独特和自治的实体——以及这方面的问题项目曝光。