Diotima

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Diotima ( ancient Greek Διοτίμα Diotíma , emphasis in today's German mostly: Diótima) is a figure in Plato's Dialog Symposium , in which the participants in the discussion discuss the nature of Eros . She is presented there as a wise woman from Mantineia in Arcadia . In the dialogue, Diotima does not appear among those involved, but the philosopher Socrates tells how he was taught by her about Eros. In the conversation, Diotima explained to him her doctrine of the right philosophical control of the erotic urge. The Eros concept that Plato put into her mouth has been called " Platonic love " since the Renaissance .

It is not known whether the figure is fictitious or a historical model from the 5th century BC. BC, which may actually have had that name. Because of the strong aftermath of the dialogue up to the present day, the name Diotima has been picked up again and again in modern times and used as a pseudonym , as an honorary alternative name or to designate a literary figure. It traditionally stands for a woman who is able to convey a philosophically substantiated knowledge in the erotic field.

Diotima in the symposium

Dialogue situation

Diotima is the only female figure who can speak in a platonic dialogue. However, she does not appear directly, because she does not take part in the symposium (drinking binge, banquet), the course of which the dialogue describes. Rather, Socrates, the main character of the dialogue, reports on a conversation in which Diotima had taught him about Eros and convinced him of the correctness of her point of view. He had come to her specifically for the purpose of receiving such information when she was temporarily in Athens. In the symposium he praises her consummate wisdom. He reproduces their statements in direct speech and identifies with their content instead of presenting his own theory. The Diotima speech is the philosophical climax of the banquet.

Otherwise, the reader of the symposium about Diotima only learns that she was a seer whose wisdom gave her extraordinary abilities; Socrates reports that she was able to delay the outbreak of the plague in Athens by ten years by making a sacrifice. It can be seen from this that she acted as a priestess. What is meant is the plague that struck Athens in 430 BC. Broke out (" Attic plague "). The woman's name Diotima (meaning: "those honored by Zeus " or "those honoring Zeus") was rare; however, the male form was often Diotimos .

In his rendering of the conversation with Diotima ( Symposium 201d – 212c), Socrates first describes the nature of Eros, then its work. He appears to her as a student. By asking questions that are supposed to help him gain knowledge, she takes on the maieutic role that he usually plays in Plato's dialogues with his interlocutors. Wherever he has to confess that he has no answer, it reveals the truth to him.

content

With "Eros" is meant the mythical figure who was considered to be the originator of the erotic desire of the people. The idea of ​​passion is always associated with this. Socrates starts out from the assumption that Eros is a great god and must be beautiful. Diotima refutes this opinion. It shows that Eros is neither good and beautiful nor bad and ugly, but rather is to be located in a middle range. Because of this imperfection, he cannot be a god. But neither is he a mortal. Since he stands between deity and man, he is a daimon ("demon", but not in the current, mostly derogatory sense of this term). Like all demons, he has a role of mediator between gods and humans. He fulfills this task in his area of ​​responsibility, in the field of the erotic. He transmits to people what is to come to them from the gods in this regard.

In Diotima's myth, Eros is not - as in a widespread tradition - the son of the goddess Aphrodite , but he was conceived at the feast that the gods held on the occasion of Aphrodite's birth. His mother Penia , poverty personified , came to the meal as a beggar and met the drunken Poros ("pathfinder") there. Poros is the personification of resourcefulness that always finds a way out and paves the way to abundance and wealth. However, as his drunkenness suggests, he lacks the ability to be moderate. In order to compensate for her need, Penia wanted to conceive a child from him. So it came to the procreation of Eros, which later joined the goddess, whose birth festival had led to the meeting of his parents, and became her companion. In his nature, Eros combines the qualities of his father with those of his mother. He inherited the principle of want from his mother, so he is poor and unsightly, barefoot and homeless. From his father he got his energy and cunning, his magic and the strong inclination for the beautiful and the good that drives him. Since wisdom counts for beauty, he is also a philosopher (“wisdom lover”). He lacks insight, but eagerly strives for it, being aware of this lack.

Like Eros, the people who are touched by it also strive for the beautiful and the good and want to achieve it for themselves. You want to own it permanently in order to be happy.

Man has the power of procreation or fertility in the physical as well as in the spiritual sense. This ability to produce, like beauty, is of a divine nature, so it can develop where it meets beautiful; it does not harmonize with ugliness, so it is not activated by him. For this reason, the erotic desire is directed towards the beautiful. But the beautiful is not striven for as such. The erotic urge is not love for the beautiful, but an urge to create and produce in the beautiful. For mortality strives for immortality. By means of procreation, mortals can leave something of themselves behind and thus achieve a permanence with which they, as it were, participate in the immortal. Analogous to this, the production of enduring spiritual values, for example in poetry or legislation, is a type of procreation that brings "immortal" fame.

The erotic attraction reaches a particular strength when the desired person is not only physically beautiful, but also mentally, i.e. virtuous. Based on this, Diotima developed her doctrine of the right philosophical control of the erotic urge. In youth, one should turn to beautiful bodies and realize that it is not about the advantages of a particular body, but about the physical beauty itself, which is the same in all beautiful bodies. Later one will turn to the spiritual beauty that one initially perceives in a certain person. Therefore, love is now directed towards this person, even if it is outwardly unsightly. This leads to a focus on ethics ; the lover discovers the beautiful in beautiful actions. Later the beauty of knowledge becomes perceptible to him. In doing so, he has the opportunity to discover that in the spiritual and spiritual realm too, beauty is not tied to something individual, but is the general, which always shows itself in particular. From there the lover arrives at the highest level of knowledge. There it is no longer a matter of individual virtues or individual beautiful deeds or insights, but rather beauty in the most general and comprehensive sense: the perfect and unchangeable beauty par excellence, which is ultimately the source of all forms of beauty. This primal beauty is not a mere abstraction, not a conceptual construct, but a perceptible reality for those who have reached the last level.

Socrates agrees with Diotima's remarks and adds that Eros is man's best helper on the path of philosophical knowledge. Therefore one should honor him and the erotic and practice in this area.

Meaning of Diotimas

In his dialogues, Plato depicts Socrates as a philosopher who has gained knowledge and helps others to gain insights in conversation, but does not claim to have knowledge in the sense of a complete, fully justifiable system of teaching. That is why he does not let him present his own theory of eros in a speech at the symposium like other participants in the discussion, but assigns him the role of reporter, who only expounds foreign wisdom. For this reason, Plato needs the figure of Diotima, to whom he puts his concept in the mouth. As a wise seer, Diotima has an insight that philosophical discourse alone cannot convey. She argues philosophically at times, but with regard to the core of her teaching she invokes a transcendent experience which, according to her presentation, represents the culmination and conclusion of a philosophical training path.

Based on this, some researchers have declared Diotima to be a fictitious figure, while others assume a connection with a real person or at least do not exclude it. All statements by later ancient authors are based on those of Plato, some of which embellish them with invented additions. If it is a fictional character, her alleged origin from Mantineia could be an allusion to her function as a seer (mántis) . According to one hypothesis, Plato designed the figure of Diotima as a counter-image to that of Aspasia , who plays a role in his dialogue Menexenos as a teacher of rhetoric and after whom a dialogue by the Socratic Aeschines , which has only survived in fragments , is named. It was his aim to overcome the concept of Aeschines' Aspasia and to oppose it with a superior one.

The question has often been discussed why Plato, as an exception, transfers his own view to a woman on this subject. Many speculations about his own sexual orientation also played a role. It has even been suggested that Diotima represented a sophistic concept that was rejected by Plato or at least his Socrates. This approach is now considered to be a mistake, but this does not mean that Diotima's teaching must be completely identical with Plato's own conviction. Another hypothesis is that Plato intended a “self-dismantling of the feminine principle”. It is Diotima's task to displace Eros from the divine position traditionally assigned to him. This means a rejection of the feminine-divine, which is finally overcome by the masculine-divine. The goal is a complete "disempowerment of the principles of Aphrodite". In terms of this intention, it is appropriate that precisely with this change of power "a woman is in command".

reception

Antiquity

A representation of Diotima in the ancient fine arts could not yet be determined with complete certainty. It is very likely that the woman who stands next to the seated Socrates on a mural from the early Roman Empire from Boscoreale is Diotima. The mural, based on a model from the late 4th century BC. BC, is now in the J. Paul Getty Museum in Malibu .

According to the current state of research, two further identification proposals should be considered: a woman standing on a relief from the 3rd century BC. BC (with Epimenides ; today in Rome, Conservator's Palace ) and a standing woman holding a liver as a token of divination, on a relief found in Mantineia in 1887 (now in the National Archaeological Museum in Athens). The relief from Mantineia dates from the last third of the 5th century BC. Chr .; so if it actually represents Diotima and she is a historical person, it is contemporary.

In the past, a seated woman with Eros and a man - presumably Socrates - on a bronze relief from Pompeii (now in Naples) and on two silver-plated clay buckets from the area of Orvieto were mistaken for Diotima. However, this identification has proven to be incorrect.

In the Roman Empire , the figure of Diotima received little attention. The doctrine presented at the symposium occupied Plutarch and the Neoplatonists . Plutarch and the Neo-Platonist Plotinus grappled with the question of how the myth of Eros should be interpreted. In the 5th century, the Neo-Platonist Proclus cited in his commentary on Plato's dialogue Politeia Diotima among the Pythagoreans , whose virtue was known. He is also said to have commented on Diotima's remarks in the symposium . In the Middle Ages, Diotima was largely unknown because Plato's writing was lost in the West.

15th and 16th centuries

When, during the Renaissance, the symposium of the western world of scholars became accessible again in the original Greek text, Diotima aroused the interest of the humanists . The famous scholar Marsilio Ficino , an avid explorer of ancient Platonism , translated the dialogue into Latin , making it accessible to a wider reading public. He also wrote a Latin commentary on it in 1468/1469 ( Commentarium in convivium Platonis de amore , De amore for short, "About love"), which was printed in 1484. He designed this comment, of which he also prepared an Italian version, as a dialogue with seven contemporary participants who explain the speeches in the symposium . Socrates' speech is interpreted by Tommaso Benci, who introduces Diotima as a divinely inspired seer; Socrates wanted to show that people could understand what true beauty and true love was only thanks to divine inspiration.

In the period that followed, Diotima became the model of a woman for the educated who emerged in philosophy with her own thoughts. In the late 16th century, Francesco Patrizi da Cherso wrote the four dialogues L'amorosa filosofia , imitating the structure of the symposium . As with Plato, it is an account of a banquet that tells of a conversation with a woman who taught love affairs. This educated lady, who is known as the "new Diotima" - it is the poet Tarquinia Molza who is friends with Patrizi - presented non-Platonic ideas. She attributed all forms of love to self-love.

18th century

In 1775/1780 the French painter Jacques-Louis David made a drawing depicting Socrates and Diotima. It is now in the National Gallery of Art in Washington, DC

Diotima was used in literary terms as an alias for contemporary women, who were assigned a role reminiscent of the ancient model. This is how Frans Hemsterhuis called the educated Princess Amalie von Gallitzin "Diotima" and called herself "Socrates" when dealing with her.

Towards the end of the 18th century there was a renewed interest in Plato in Germany and the role of women in philosophical discourse was discussed in many ways. This brought Diotima back into focus as a role model for women who philosophize independently. Friedrich Schlegel wrote an essay on Diotima in 1795 , in which he portrayed her as a priestess and as a Pythagorean woman and described her as an “image of perfect humanity”, as a woman “in whom the grace of an Aspasia , the soul of a Sappho , is with great independence married". Schlegel extensively countered the suspicion that she was a hetaera , since at that time only hetaerae were educated and could have socialized with men in the manner described by Plato.

The best-known and most powerful Diotima reception of this epoch and of all modern times is that of Friedrich Hölderlin . He was very impressed by Diotima's statements in the symposium and used her name - with the Greek accent Diotíma - for the beloved in his love poetry . The Platonic idea that Eros can rise above the ephemeral individual, he poetically expressed in the ode The Farewell and in the elegy Menon's lamentations about Diotima . In his epistolary novel Hyperion , on which he worked in the last years of the 18th century, he also brought the Eros concept of Plato's Diotima to bear. The action takes place in the late 18th century during the struggle for the liberation of Greece from Ottoman rule. Diotima, a Greek girl, is a central figure as the lover of the title hero. She loves Hyperion, but also encourages him to realize that he can only fulfill his life's task when he no longer allows himself to be dominated by a one-sided attachment to the concrete individual phenomenon, but instead finds the way into a higher dimension. At the same time, she herself is the embodiment of his ideal of perfect beauty. He finds himself in an illusion because he creates an idealized image of Diotima that differs greatly from her self-perception. After her death, for which he is partly to blame, it falls to him to redesign his life. After all, he finds peace in nature. The model for Hölderlin's literary female figure was Susette Gontard , but not in the sense that the real person could be consistently equated with the fictional one.

Christoph Martin Wieland's approach was completely different . In 1800/1801 he dealt critically with the teachings of love presented in the symposium . In his epistolary novel Aristippus , a letter reports on a banquet in which five men took part in addition to the hostess Lais . Plato's symposium was read out and then discussed in terms of its individual components. The participants in the discussion came to results that radically contradict Diotima's view. In particular, the doctrine of the primal beautiful met with fundamental criticism, since the primal beautiful lies outside the realm of possible human experience. Therefore, from this critical point of view, it cannot be the goal of love, but appears to be unreal. Wieland conceived his Lais as a counter-image to Diotima.

Modern

Jadwiga Łuszczewska as Diotima in a painting by the Polish painter Józef Simmler from 1855

In the 19th and 20th centuries, literary interest in Diotima was relatively low. The poet Sophie Borries (1799–1841) and the Polish writer and poet Jadwiga Łuszczewska (1834–1908) chose the name as a pseudonym. The publicist Lenore Kühn (1878–1955) also used this pseudonym when she published her Schule der Liebe (School of Love ) at Verlag Eugen Diederichs in 1930 , a non-fiction book about gender relations that achieved great sales success. In Robert Musil's novel The Man Without Qualities , the hostess of a salon receives the name Diotima from an admirer. With this, Musil ties in with the ancient tradition, albeit with an ironic intention: he opposes an idealistic, romantic exaggeration of trivial relationships.

Several drawings of Socrates with Diotima were made by the Swiss painter Hans Erni . The composer Luigi Nono created the string quartet Fragments - Stille, An Diotima in 1979/1980 , with the name of which he referred to Hölderlin's Diotima figure. The name of the French string quartet "Quatuor Diotima", which was founded in 1996 by music school graduates from Paris and Lyon, is an homage to this work.

The Italian philosopher Luisa Muraro founded a feminist philosophical community called Diotima in Verona in 1983 . The philosophical journal Diotima , published by the Société Hellénique d'Etudes Philosophiques , has been published in Athens since 1973 .

The asteroid (423) Diotima is named after Plato's Diotima .

literature

  • David M. Halperin : Why Is Diotima a Woman? Platonic Eros and the Figuration of Gender . In: David M. Halperin et al. (Ed.): Before Sexuality. The Construction of Erotic Experience in the Ancient Greek World . Princeton University Press, Princeton (NJ) 1990, ISBN 0-691-03538-5 , pp. 257-308.
  • Kurt Sier : The speech of Diotima. Investigations on the Platonic Symposium . Teubner, Stuttgart 1997, ISBN 3-519-07635-7 .
  • Jürgen Wippern: Eros and immortality in the Diotima speech of the symposium . In: Hellmut Flashar , Konrad Gaiser (Ed.): Synusia. Ceremony for Wolfgang Schadewaldt on March 15, 1965 . Neske, Pfullingen 1965, pp. 123-159.

reception

  • Pascal Firges: Eros in Hyperion. Platonic and Spinozist ideas in Hölderlin's novel (= cultural history series , volume 11). Sonnenberg, Annweiler 2010, ISBN 978-3-933264-61-9 .
  • Jean Firges : Friedrich Hölderlin: Mourning for Diotima. The “Hyperion” novel (= Exemplary Series Literature and Philosophy , Volume 10). Sonnenberg, Annweiler 2002, ISBN 978-3-933264-17-6 .

Web links

Remarks

  1. ^ Plato, Symposium 201d.
  2. ↑ Luc Brisson : Diotima . In: Richard Goulet (ed.): Dictionnaire des philosophes antiques , Vol. 2, Paris 1994, pp. 883-884, here: 884.
  3. ↑ See John S. Traill: Persons of Ancient Athens , Vol. 6, Toronto 1997, pp. 52-62; Kurt Sier: The speech of Diotima , Stuttgart 1997, p. 8.
  4. ↑ For the character of Poros and the etymology of his name, see Steffen Graefe: The split Eros - Plato's drive for “wisdom” , Frankfurt am Main 1989, pp. 131–170.
  5. ↑ See also Stefan Büttner: The theory of literature in Plato and their anthropological justification , Tübingen 2000, pp. 215-224.
  6. ↑ Walther Kranz is convinced of the historicity : Diotima von Mantineia . In: Walther Kranz: Studies on ancient literature and its continued work , Heidelberg 1967, pp. 330–337, here: 330f. Ute Schmidt-Berger (ed.): Platon: Das Trinkgelage , Frankfurt am Main 1985, p. 140 and Debra Nails: The People of Plato , Indianapolis 2002, p. 137f. Advocate the possibility of historicity or a historical model . Proponents of the opposite view include Gregory Vlastos : Socrates. Ironist and Moral Philosopher , Cambridge 1991, p. 73 Note 128, Heinrich Dörrie : Diotima . In: Der Kleine Pauly , Volume 2, Munich 1979, p. 94f. and Eveline Krummen : Socrates and the idols . In: Perspektiven der Philosophie 28, 2002, pp. 11–45, here: 19f. See also Luc Brisson (ed.): Platon: Le Banquet , 2nd edition, Paris 2001, p. 29f .; Hayden W. Abroad: Who Speaks for Whom in the Timaeus-Critias? In: Gerald A. Press (Ed.): Who Speaks for Plato? Studies in Platonic Anonymity , Lanham 2000, pp. 183–198, here: 185f. (and p. 186 note 11 on the beginnings of the research discussion in the 18th and 19th centuries); Michael Erler : Platon (= Hellmut Flashar (Hrsg.): Outline of the history of philosophy . The philosophy of antiquity , vol. 2/2), Basel 2007, p. 196; Kurt Sier: The speech of Diotima , Stuttgart 1997, p. 8.
  7. ^ Barbara Ehlers: A pre-Platonic interpretation of Socratic Eros , Munich 1966, pp. 131-136; in agreement Holger Thesleff : Platonic Patterns , Las Vegas 2009, pp. 266, 283f.
  8. ↑ See also Luc Brisson (ed.): Platon: Le Banquet , 2nd edition, Paris 2001, p. 30f .; Eva-Maria Engelen : On the concept of love in Plato's symposium, or: Why is Diotima a woman? In: Bochumer Philosophisches Jahrbuch für Antike und Mittelalter 6, 2001, pp. 1–20 (with discussion of the older hypotheses); Michael Erler: Platon (= Hellmut Flashar (Hrsg.): Outline of the history of philosophy. The philosophy of antiquity , vol. 2/2), Basel 2007, p. 196; David M. Halperin: Why Is Diotima a Woman? Platonic Eros and the Figuration of Gender . In: David M. Halperin et al. (Eds.): Before Sexuality , Princeton 1990, pp. 257-308; Kurt Sier: Die Rede der Diotima , Stuttgart 1997, p. 10f .; Enrique A. Ramos Jurado: Eros demónico y mujer demónica, Diotima de Mantinea . In: Habis 30, 1998, pp. 79-86.
  9. ^ Harry Neumann: Diotima's Concept of Love . In: American Journal of Philology 86, 1965, pp. 33-59.
  10. ↑ Steffen Graefe: The split Eros - Plato's drive to “wisdom” , Frankfurt am Main 1989, pp. 110–119; Barbara Zehnpfennig (Ed.): Platon: Symposion , Hamburg 2000, p. XVI and note 13; Stefan Büttner: Plato's theory of literature and its anthropological justification , Tübingen 2000, p. 215f. Note 1; Michael Erler: Platon (= Hellmut Flashar (Hrsg.): Outline of the history of philosophy. The philosophy of antiquity , Vol. 2/2), Basel 2007, p. 197; Kurt Sier: Die Rede der Diotima , Stuttgart 1997, p. 96. Cf. also Walther Kranz: Diotima von Mantineia . In: Walther Kranz: Studies on ancient literature and its continued work , Heidelberg 1967, pp. 330–337, here: 331f.
  11. ^ Achim Wurm: Platonicus amor , Berlin 2008, pp. 16–22; Gary Alan Scott, William A. Welton: Eros as Messenger in Diotima's Teaching . In: Gerald A. Press (Ed.): Who Speaks for Plato? Studies in Platonic Anonymity , Lanham 2000, pp. 147-159.
  12. ↑ Claudia Piras: Forgotten is the end of knowledge. Eros, Mythos and Gedächtnis in Plato's Symposion , Frankfurt am Main 1997, pp. 86–145, especially pp. 94f.
  13. ^ Karl Schefold : The portraits of ancient poets, speakers and thinkers , Basel 1997, p. 178f. (with picture).
  14. ↑ Karl Schefold: The portraits of ancient poets, speakers and thinkers , Basel 1997, p. 108f. (Relief from Mantineia, with illustration), 178f. (Naples), 242f. (Relief in Rome, with illustration); Agnes Schwarzmaier : Really Socrates and Diotima? In: Archäologischer Anzeiger 1997, pp. 79–96. Cf. Gisela MA Richter : The Portraits of the Greeks , Supplement , London 1972, p. [6] (partly outdated information).
  15. ^ Willy Theiler : Diotima neo-Platonic . In: Willy Theiler: Studies on ancient literature , Berlin 1970, pp. 502–518; Teresa Chevrolet: L'Eros de Diotime comme mythe intertextuel: lectures néo-platoniciennes d'un passage du Banquet . In: Bibliothèque d'Humanisme et Renaissance 51, 1989, pp. 311-330.
  16. ^ Proklos, In Platonis rem publicam I p. 248, lines 25-27 Kroll; French translation: André-Jean Festugière: Proclus, Commentaire sur la République , vol. 2, Paris 1970, p. 53.
  17. ^ Heinrich Dörrie, Matthias Baltes : The Platonism in antiquity , Volume 3, Stuttgart-Bad Cannstatt 1993, p. 200.
  18. ↑ Pierre Laurens (ed.): Marsile Ficin: Commentaire sur le Banquet de Platon, De l'amour , Paris 2002, p. 127. Cf. Vanessa Kayling: The reception and modification of the Platonic concept of eros in French literature in the 16th and 17th centuries 17th century with special consideration of the ancient and Italian tradition , Bonn 2010, pp. 110–112.
  19. ↑ See Sabrina Ebbersmeyer: Between Physiology and Spirituality. On the Reception of the Platonic Symposium in Renaissance Philosophy . In: Stefan Matuschek (ed.): Where the philosophical conversation turns completely into poetry. Plato's Symposium and its Effect in the Renaissance, Romanticism and Modern Age , Heidelberg 2002, pp. 17–32, here: 29–31.
  20. ↑ See on this work James H. Lesher: Some Notable Afterimages of Plato's Symposium . In: James H. Lesher et al. (Ed.): Plato's Symposium. Issues in Interpretation and Reception , Cambridge (Massachusetts) 2006, pp. 313-340, here: 327 (with illustration).
  21. ↑ Ernst Behler (Ed.): Friedrich Schlegel: Studies of the Classical Antiquity (= Critical Friedrich Schlegel Edition, Vol. 1 Section 1), Paderborn 1979, p. 115; see. S. CXLIX-CLII.
  22. ↑ On the Diotima figure in Hyperion see Gabriele von Bassermann-Jordan: “Beautiful life! you live like the tender flowers in winter ... ”The figure of Diotima in Hölderlin's poetry and in the“ Hyperion ”project: Theory and poetical practice , Würzburg 2004, pp. 130–151; Ulrich Gaier: Diotima, a syncretic figure . In: Valérie Lawitschka (ed.): Hölderlin: Christentum und Antike , Tübingen 1991, pp. 141–172. See Pascal Firges: Eros im Hyperion , Annweiler 2010, pp. 30–35, 40–49.
  23. ^ Klaus Manger: Lais' Antisymposion in Wieland's Aristippus . In: Stefan Matuschek (ed.): Where the philosophical conversation turns completely into poetry. Plato's Symposium and its Effect in the Renaissance, Romanticism and Modern Age , Heidelberg 2002, pp. 49–61.
  24. ↑ Christiane Streubel: Lenore Kühn (1878–1955) , Berlin 2007, p. 43.
  25. ↑ See Karin Sporkhorst: From which, remarkably, nothing emerges. Diotima - a woman with a past but no future . In: Gabriele Uerscheln (Ed.): "Perhaps the truth is a woman ..." Female figures from Mythos im Zwielicht , Cologne 2009, pp. 112–121.
  26. ↑ On Nono's Hölderlin reception see Ingrid Allwardt: The Voice of Diotima. Friedrich Hölderlin and Luigi Nono , Berlin 2004, Hermann Spree: Fragments - Stille, An Diotima , Saarbrücken 1992, pp. 79–87 as well as the essays by Peter Andraschke: Hölderlin 1980 and Siegfried Mauser : An Diotima: Poetry as a score in that of Otto Kolleritsch edited volume Die Musik Luigi Nonos , Vienna 1991, pp. 145–161 and 162–179.
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