ABSTRACT This article compares two canonical works of modern German literature completed in 1912–13: Thomas Mann’s Der Tod in Venedig and the third of Rainer Maria Rilke’s Duineser Elegien. It uses the metaphors of visual art suggested by Rilke in his criticism of Mann’s novella to develop a reading based on the idea of the ‘contour’ and on poetic form, spanning travel and place, literary genre, sexuality and psychoanalysis, as well as antecedents in classical and neoclassical aesthetics and philosophy. This is not a historicist approach nor one that belongs to reception studies, but rather a reconstruction of the German-speaking cultural landscape in the first decades of the twentieth century and its bearing upon Rilke and Mann.

中文翻译：

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“轮廓”和“云”：威尼斯之死和里尔克的“第三挽歌”

摘要本文比较了1912–13年间完成的两部现代德国文学经典著作：托马斯·曼（Thomas Mann）的威尼斯《托德（Der Tod）》和雷纳·玛丽亚·里尔克（Rainer Maria Rilke）的杜纳塞·埃莱恩（Duineser Elegien）的第三本。它使用里尔克（Rilke）在批评曼恩的中篇小说时提出的视觉艺术隐喻，以``轮廓''和诗意形式为基础来发展阅读，涵盖旅行和地点，文学体裁，性和心理分析作为古典和新古典美学和哲学的前提。这既不是历史主义的方法，也不是属于接受研究的方法，而是对二十世纪前几十年讲德语的文化景观及其对里尔克和曼的影响的重建。