By Veronique M. Foti
Examines the German poet Hölderlin’s philosophical insights into tragedy.
Friedrich Hölderlin needs to be thought of not just an important poet but additionally a philosophically vital philosopher inside German Idealism. In either capacities, he was once crucially preoccupied with the query of tragedy, but, strangely, this e-book is the 1st in English to discover absolutely his philosophy of tragedy. targeting the idea of Hegel, Nietzsche, Heidegger, and Reiner Schürmann, Véronique M. Fóti discusses the tragic delivering German philosophy that all started on the shut of the eighteenth century to supply a old and philosophical context for an engagement with Hölderlin. She is going directly to learn the 3 fragmentary types of Hölderlin’s personal tragedy, The loss of life of Empedocles, including comparable essays, and his interpretation of Sophoclean tragedy. Fóti additionally addresses the connection of his personality Empedocles to the pre-Socratic thinker and concludes by way of analyzing Heidegger’s discussion with Hölderlin bearing on tragedy and the tragic.
“Original, fascinating, and punctiliously argued, this booklet makes a massive contribution through demonstrating that Hölderlin needs to be taken heavily for his paintings in philosophy. between its a variety of strengths, Fóti’s research contextualizes Hölderlin’s philosophy of tragedy inside of higher currents of post-Kantian continental philosophy, acknowledges that Hölderlin’s total method of tragedy seems to be now not as a inflexible place, yet quite emerges via a couple of alterations during his efficient existence, and sheds new gentle on numerous celebrated texts through Hölderlin, resembling his ‘Remarks on Oedipus’ and ‘Remarks on Antigone.’” — Theodore D. George, writer of Tragedies of Spirit: Tracing Finitude in Hegel’s Phenomenology
Véronique M. Fóti is Professor of Philosophy at Penn kingdom at college Park and the writer of Vision’s Invisibles: Philosophical Explorations, additionally released by way of SUNY Press, and Heidegger and the Poets: Poiesis/Sophia/Techne.
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Extra info for Epochal Discordance: Hölderlin's Philosophy of Tragedy (Suny Series in Contemporary Continental Philosophy)
Riedel outlines the Neoplatonic (originally gnostic) quest for henosis (or union with the transcendent One from which the soul has become estranged) together with the quest’s Christianization in patristic thought, and also in the mystical heritage of Pietism that formed Hölderlin’s own natal religious milieu: The salvation of union is attained by sacrifice (‘giving up’/resignatio) of the world (as well as of one’s own self as belonging to the world). 7 Riedel goes on, however, to discuss the supplanting of this quest by the ideal of a return to and union with infinite nature and with the all of earthly life (which, of course, are not transcendent).
Hölderlin’s fascination, as a poet, with the singular in its unique sensuous presencing, and his sensitivity to the nuances of human relationships, appear to be in tension here with his philosophical passion for effacing the singular in a union with Nature. What further distinguishes the three versions from the Frankfurt Plan is that in all of the former, but not in the Plan, Empedocles remains essentially solitary, a stranger to the human sphere, suggesting that Hölderlin may quickly have come to see his character’s sensitivity to human bonds as imperiling his devotion to the all.
43 The chorus, Hegel now stresses, is not merely the reflective spectator, but ethicality in its immediate, still unitary reality. Even though historically it evolved from the sacred origins of Greek tragedy (being specifically linked to the Dionysian cult), and even though this origin is in tension with the mythic content of Attic tragedy, the chorus remains essential to its modality of representation. In contrast, any attempt to reintroduce the chorus into modern tragedy is incongruous, since here the action does not issue from an originary, undivided consciousness.