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

強(qiáng)行引入

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 H?lderlin’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 H?lderlin translates just before he composes his most meaningful poems: Euripides’ ..

ear-canal

Suppository

Fresco

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 H?lderlin confronts competing Dionyisac and monetised/visualised chronotopes, as articulated in Part I, begins to become clear.

溝通

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 H?lderlin’s final poems and his last years of lucidity.

無(wú)政府主義者

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 H?lderlin’s Dionysian description of modern money-tyrants who peer through “[t]he telescope […] and coun[t] ./.[.] ..”

avulsion

揉雜