Dionysian Logos By Rainer J. Hanshe

Works Cited

Ameisen, Jean-Claude. La Sculpture du vivant. Le suicide cellulaire ou la mort créatrice (Paris: Seuil, 2003).

Babich, Babette. “Mousike Techne: The Philosophical Practice of Music in Plato, Nietzsche, and Heidegger.” Between Philosophy and Poetry: Writing, Rhythm, History. Eds. Massimo Verdicchio & Robert Burch. New York; London: Continuum, 2002.

Benjamin, Walter. “The Concept of Criticism in German Romanticism.” Selected Writings, Vol. I, 1913–1926. Cambridge, MA: Belknap Press, 1996; 1999.

Cohen, Jonathan R. Science, Culture, and Free Spirits: A Study of Nietzsche’s Human, All Too Human. Amherst: Prometheus Books, 2009.

Crawford, Claudia. “Nietzsche’s Psychology and Rhetoric of World Redemption: Dionysus versus the Crucified.” Nietzsche and Depth Psychology. Eds. Jacob Golomb, Weaver Santaniello, and Ronald Lehrer. New York:  SUNY Press, 1999.

Elias, Camelia. The Fragment: Towards a History and Poetics of a Performative Genre. Bern; Berlin: Peter Lang, 2004.

Grundlehner, Philip. The Poetry of Friedrich Nietzsche. Oxford: Oxford University Press, 1986.

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Nietzsche, Friedrich. Daybreak. Tr. by R.J. Hollingdale. Cambridge: Cambridge University Press, 1982.

Human, All Too Human. Tr. by R.J. Hollingdale. Cambridge: Cambridge University Press, 1986.

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Paz, Octavio. The Bow and the Lyre. New York: McGraw Hill, 1973.

Pothen, Philip. Nietzsche and the Fate of Art. London: Ashgate, 2002.

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[1] KSB 8: 566. From a letter dated December 30, 1888.

[2] KSB 8: 575. This sentence is taken from a postcard Nietzsche wrote to Heinrich Köselitz.

[3] The Idylls of Messina and the Dionysos Dithyrambs were the sole works of Nietzsche’s composed strictly of verse. The first, a cycle of eight poems, was featured in a magazine edited by his publisher Schmeitzner in 1882 and thereafter listed by Nietzsche himself on the back cover of his subsequent books as one of his works. The latter was his last complete work. During his final sane days, he was proofreading the book.

[4] Phillip Pothen expresses this same view: “Nietzsche’s suspicion concerning art is perhaps the greatest of any since Plato’s, and even, it might be said, including Plato’s.” See Pothen’s Nietzsche and the Fate of Art (London: Ashgate, 2002), 12.

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