Hölderlin’s Dionysiac Poetry: The Terrifying-Exciting Mysteries

Author:   Lucas Murrey
Publisher:   Springer International Publishing AG
Edition:   2015 ed.
ISBN:  

9783319102047


Pages:   247
Publication Date:   18 December 2014
Format:   Hardback
Availability:   Manufactured on demand   Availability explained
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Hölderlin’s Dionysiac Poetry: The Terrifying-Exciting Mysteries


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Full Product Details

Author:   Lucas Murrey
Publisher:   Springer International Publishing AG
Imprint:   Springer International Publishing AG
Edition:   2015 ed.
Dimensions:   Width: 15.50cm , Height: 1.60cm , Length: 23.50cm
Weight:   5.207kg
ISBN:  

9783319102047


ISBN 10:   3319102044
Pages:   247
Publication Date:   18 December 2014
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand   Availability explained
We will order this item for you from a manufactured on demand supplier.

Table of Contents

​Chapter 1: Introduction.- PART I: Dionysiac and Visualised Chronotopes.- Chapter 2: The Dionysiac Chronotope.- Chapter 3: The Visualised Chronotope.- Chapter 4: Dionysiac Language.- PART II: The Time After.- Chapter 5: Visual and Linguistic Nihilism.- Chapter 6: “Wakers-of-the-Dead”.- Part III: Hölderlin’s Retrieval of Dionysiac and Visualised Chronotopes.- Chapter 7: The Dionysiac Chronotope (Pre-1799-1799).- Chapter 8: The Dionysiac Chronotope (1799-1802).- Chapter 9: The Dionysiac Chronotope (1802-1804 and after).- Chapter 10: Dionysiac Language (Pre-1799-1802).- Chapter 11: Dionysiac Language (1802-1804 and after).- PART IV: Conclusion.- Chapter 12: Nationalism.- Chapter 13: Christianity.- Chapter 14: Hölderlinian Hyperabstractions.- CODA: “Holy Madness”?.- Index.- Bibliography.

Reviews

Lucas Murrey shares with his subject, Hoelderlin, a vision of the Greeks as bringing something vitally important into our poor world, a vision of which few classical scholars are now capable. -Richard Seaford, author of Money and the Early Greek Mind and Dionysus. Here triumphs a temperament guided by ancient religion and that excavates, in Hoelderlin's translations, the central god Dionysus of Greek tragedy. -Bernhard Boeschenstein, author of Frucht des Gewitters . Zu Hoelderlins Dionysos als Gott der Revolution and Paul Celan: Der Meridian. Lucas Murrey takes the god of tragedy, Dionysus, finally serious as a manifestation of the ecstatic scream of liberation and visual strategies of dissolution: he pleasantly portrays Hoelderlin's idiosyncratic poetic sympathy. -Anton Bierl, author of Der Chor in der Alten Komoedie. Ritual and Performativitat Hoelderlin most surely deserved such a book. -Jean-Francois Kervegan, author of Que faire de Carl Schmitt? ...fascinating material... -Noam Chomsky, author of Media Control and Nuclear War and Environmental Catastrophe.


Lucas Murrey shares with his subject, Holderlin, a vision of the Greeks as bringing something vitally important into our poor world, a vision of which few classical scholars are now capable. -Richard Seaford, author of Money and the Early Greek Mind and Dionysus. Here triumphs a temperament guided by ancient religion and that excavates, in Holderlin's translations, the central god Dionysus of Greek tragedy. -Bernhard Boschenstein, author of Frucht des Gewitters . Zu Holderlins Dionysos als Gott der Revolution and Paul Celan: Der Meridian. Lucas Murrey takes the god of tragedy, Dionysus, finally serious as a manifestation of the ecstatic scream of liberation and visual strategies of dissolution: he pleasantly portrays Holderlin's idiosyncratic poetic sympathy. -Anton Bierl, author of Der Chor in der Alten Komodie. Ritual and Performativitat Holderlin most surely deserved such a book. -Jean-Francois Kervegan, author of Que faire de Carl Schmitt? ...fascinating material... -Noam Chomsky, author of Media Control and Nuclear War and Environmental Catastrophe.


Author Information

Lucas Murrey (Ph.D. Yale University) has taught at UCLA (Los Angeles) and Yale University (New Haven) and is presently finishing two works Friedrich Nietzsche: The Meaning of Earth and Fin-de-Siècle Germany and the Trauma of the Great War. The abiding interest in the power of images and language not only to estrange, but also to return humankind to its earthly place in the cosmos, as betrayed by Murrey’s research and teaching style, may well have its roots in his childhood and youth in southern California. Of particular concern to him is the communal potential of seeing (and listening) in ways that transcend the narrowness of a media culture that is driven exclusively by money and its (lethal) socio-political symptoms.

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