This book argues that The Birth of Tragedy, Nietzsche's first book, does not mark a rupture with his prior philosophical undertakings but is, in fact, continuous with them and with his later writings as well. It shows that many of the book's elements are reminiscent of Nietzsche's earlier revisions of philology and anticipate the later writings.

This book argues that The Birth of Tragedy, Nietzsche’s first book, does not mark a rupture with his prior philosophical undertakings but is, in fact, continuous with them and with his later writings as well. It shows that many of the book’s elements are reminiscent of Nietzsche’s earlier revisions of philology and anticipate the later writings.

What is the nature of theatre's uneasy alliance with literature? Should theatre be viewed as a preliterate, ritualistic phenomenon that can only be compromised by writing? Or should theatre be grouped with other literary arts as essentially'textual,'with even physical performance subsumed under the aegis of textuality? Jennifer Wise, a theatre historian and drama theorist who is also an actor, director, and designer, responds with a challenging and convincing reconstruction of the historical context from which Western theatre first emerged. Wise believes that a comparison of the performance style of oral epic with that of drama as it emerged in sixth-century Greece shows the extent to which theatre was influenced by literate activities relatively new to the ancient world. These activities, foreign to Homer yet familiar to Aeschylus and his contemporaries, included the use of the alphabet, the teaching of texts in schools, the public inscription of laws, the sending and receiving of letters, the exchange of city coinage, and the making of lists. Having changed the way cultural material was processed and transmitted, the technology of writing also led to innovations in the way stories were told, and Wise contends that theatre was the result. However, the art of drama appeared in ancient Greece not only as a beneficiary of literacy but also in defiance of any tendency to see textuality as an end in itself.

Drawing on Nietzsche's prolific early notebooks and correspondence, this book challenges the polarized picture of Nietzsche as a philosopher who abandoned classical philology. By showing how frequently the "later" Nietzsche appears in the early writings, the author hopes to provoke reflection on the adequacy of the developmental logic that has been a controlling factor in Nietzsche's reception.

Dionysus, the Greek god of wine, was a figure of many different personalities. Was he the mellow, smiling youth who gaily spread his gift of wine all over the world . . . or was he the fierce warrior who subjugated entire nations to his unbending will? Even his gift of wine reflected his dual nature. Wine could make people feel happy and good about themselves. Yet it could also turn them into mindless beasts who acted without thought or reason. The only god with a mortal mother, hated by Hera and driven mad by her, Dionysus figures in some of the most well-known tales of all time, such as the story of King Midas. His influence is vast and his importance to modern cultures remains strong, even while some of the other Olympians have faded into the pages of history. Dionysus has survived for thousands of years. He will likely survive for thousands of years to come.

In this anthology, outstanding authorities present their assessments of literary madness in a variety of topics and approaches. The entire collection of essays presents intriguing aspects of the Dionysian element in literature.