The abyss above : philosophy and poetic madness in Plato, Hölderlin, and Nietzsche

Uses the figure of the mad poet to explore the connections between madness and creativity In The Abyss Above, Silke-maria Weineck Offers The First Sustained Discussion Of The Relationship Between Poetic Madness And Philosophy. Focusing On The Mad Poet As A Key Figure In What Plato Called The Ancient Quarrel Between Philosophy And Poetry, Weineck Explores Key Texts From Antiquity To Modernity In Order To Understand Why We Have Come To Associate Art With Irrationality. She Shows That The Philosophy Of Madness Concedes To The Mad A Privilege That Continues To Haunt The Western Dream Of Reason, And That The Theory Of Creative Madness Always Strains The Discourse On Authenticity, Pitching The Controlled, Repeatable, But Restrained Labor Of Philosophy Against The Spontaneous Production Of Poetic Texts Said To Be, By Definition, Unique.--book Jacket. Introduction: Future Perfect -- Cassandra, Or The Belated Truth Of Madness -- Total And Restricted Madness -- The Limits Of Madness And The Limits Of Philosophy -- From Divine Reason To Madness Under The Death Of God -- Talking About Homer: Poetic Madness, Philosophy, And The Birth Of Criticism -- Talking About Homer -- Phaedrus: Madly Made Meaning -- Philosophy's Mad Demon -- The Abyss Above: Holderlin: Madness, Philosophy, And Tragedy In The Absence Of The Gods -- Introduction: Madness And The Labor Of Poetry -- Translating Greece -- Antigone And Oedipus: Madness And Sign -- Nietzsche: The Marketplaces Of Madness -- Introduction: Nietzsche's Madness And The Fear Of Contamination -- The Artist In The Ditch, Or From Metaphysics To Metaphysiology -- Meta-morality, Or The Madness Of New Thought -- The Last Madman On The Marketplace -- The Hyperborean: La Vache Qui Danse -- Conclusion: Logos And Pallaksch: Paul Celan's Tubingen, Janner -- Anachrony -- Appropriation -- Anamnesis. Silke-maria Weineck. Includes Bibliographical References (p. 167-173) And Index. THE ABYSS ABOVE 5 CONTENTS 9 ACKNOWLEDGMENTS 11 ABBREVIATIONS 13 INTRODUCTION: FUTURE PERFECT 15 CASSANDRA, OR THE BELATED TRUTH OF MADNESS 15 TOTAL AND RESTRICTED MADNESS 18 THE LIMITS OF MADNESS AND THE LIMITSOF PHILOSOPHY 23 FROM DIVINE REASON TO MADNESSUNDER THE DEATH OF GOD 25 EPILOGUE 31 1. TALKING ABOUT HOMER 33 TALKING ABOUT HOMER 33 PHAEDRUS: MADLY MADE MEANING 46 PHILOSOPHY’S MAD DEMON 59 2. THE ABYSS ABOVE 63 INTRODUCTION: MADNESS AND THE LABOR OF POETRY 63 TRANSLATING GREECE 72 ANTIGONE AND OEDIPUS: MADNESS AND SIGN 78 3. NIETZSCHE: THEMARKETPLACES OF MADNESS 93 INTRODUCTION: NIETZSCHE’S MADNESSAND THE FEAR OF CONTAMINATION 93 NIETZSCHE’S MADMEN (1): THE ARTIST IN THE DITCH,OR FROM METAPHYSICS TO METAPHYSIOLOGY 101 NIETZSCHE’S MADMEN (2): META-MORALITY,OR THE MADNESS OF NEW THOUGHT 114 NIETZSCHE’S MADMEN (3): THE LAST MADMANON THE MARKETPLACE 122 THE HYPERBOREAN: LA VACHE QUI DANSE 131 CONCLUSION: LOGOS AND PALLAKSCH: PAUL CELAN’S“TüBINGEN, JäNNER” 135 ANACHRONY 135 APPROPRIATION 139 ANAMNESIS 141 NOTES 151 BIBLIOGRAPHY 181 INDEX 189 A 189 B 189 C 189 D 190 E 190 F 190 G 190 H 190 I 191 J 191 K 191 L 191 M 191 N 191 O 191 P 191 R 192 S 192 T 192 V 193 W 193 Z 193