Titlebook: Hölderlin’s Dionysiac Poetry; The Terrifying-Excit Lucas Murrey Book 2015 Springer International Publishing Switzerland 2015 Bacchae.Dionys

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Christianitythe coincidence of ancient Greek and Christian religion gives rise to a new and fascinating form of poetic syncretism, as witnessed in the elegy .. But the psychological core of Hölderlin’s relationship to Christianity (which is concealed finally in the poet’s relationship to a selfish, monetised mo

Apraxia

FACT

Tulasi Satyanarayana,Gotthard Kunzerojected onto the public stage. The chapter concludes by turning to one of the most striking, concentrated instances of this double-transformation in the opening verses of the tragedy that Hölderlin translates just before he composes his most meaningful poems: Euripides’ ..

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https://doi.org/10.1007/978-1-4939-9782-4 Pindar, and (3) the first 24 lines of Euripides’ Bacchae. Now the power with which Hölderlin confronts competing Dionyisac and monetised/visualised chronotopes, as articulated in Part I, begins to become clear.

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https://doi.org/10.1007/978-1-349-11916-5e tyrant (unconsciously) initiates a mystical revelation of the truth (and horror) of his own blindness. To conclude, the chapter shows how this unparalleled retrieval of Dionysian Greece reappears in Hölderlin’s final poems and his last years of lucidity.

无政府主义者

https://doi.org/10.1007/978-1-349-23757-9that is, language that speaks only of abstract, superficial images that promote individual profit—is made clear by Hölderlin’s Dionysian description of modern money-tyrants who peer through “[t]he telescope […] and coun[t] ./.[.] ..”

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