Nietzsche distinguished between two forces in art: Apollonian, which represents order and reason, and Dionysian, which represents chaos and energy. Economists, Ward argues, have operated for too long under the assumption that their work reflects the scientific, Apollonian principals that inform physics when they simply do not apply to economics: 'constants' in economics stand in for variables, and the core scientific principles of prediction and replication are all but ignored by economists. Ward encourages economists to reintegrate the standard rigor (...) of the scientific method into their work while embracing the fact of the shape-shifting changeability of human beings. Economists can still aspire to scientific standards, as is demonstrated by the success of biology, in which there is considerable Dionysian variability. Economists must avoid the temptation to wish away dynamic complexity and diversity and must recognize, among other things, that the desire to take risks is fundamentally human. The second half of the book takes some first steps toward creating this new Dionysian Economics. (shrink)

Recent publications on Alfred Schutz suggest the importance of his musical thought for understanding his general viewpoint on intersubjectivity. Developing this proposition further, my article focuses on one aspect of Schutz’s writings on music: his attempts to amalgamate the aesthetic oppositions of the Dionysian/Apollonian by Friedrich Nietzsche and inner duration/spatialized time by Henri Bergson. Despite the seeming distortion of the initial meaning of the Dionysian impulse, I suggest that Schutz’s employment remains faithful to the aesthetic and cognitive theory (...) of early Nietzsche. To substantiate this, I draw a link between Nietzsche’s early theory of aesthetic cognition and the neurophysiology of the mid-nineteenth century. Furthermore, the way Schutz applied the Dionysian/Apollonian opposition to the problem of musical communication made his musical thought prefigure some neuro-scientifically inspired discussions of the present-day, like the one on joint attention. Schutz tackled the key paradox: why the experience of music can be shared but not directly communicated. (shrink)

This paper is a study of Dionysian _lysis_, “liberation”_._ We begin with the suggestion that in the description of the _mania telestike _in Plato’s _Phaedrus_ 244d-245a, the best candidate among Dionysian ritual practices abstracted by Socrates’ rhetoric is maenadic trance. The maenadic references also accompany the testimonies on Dionysos _Lysios_ in Corinth, Sicyon and Thebes, but here the evidence invites us to widen the scope of Dionysian cult practices and look at the god’s Mystery cults, notably at (...) the evidence provided by the golden leaves founded in initiated sepultures. We propose then an exclusively Dionysian reading of the Pelinna leave. This reading leans on: an analysis of the leaf’s text; a critique of the interpretations associating _lysis_ with the expiation of the Titans’ crime; an examination of Persephone’s role; the meaning of _lysis_ in OF 350 Bernabé; and the linking up of the famous passages of Plato’s _Republic_ dealing with initiations with the dynamics of postponed punishment in ancient Greek representations of divine justice. Finally, the article suggests that Dionysian _lysis_ is concerned with liberation not only after death, but also during the life of the initiated. In conclusion, it goes back to Plato’s _Phaedrus_ 245a, in order to contrast Dionysian maenadic and mystic trance. (shrink)

Friedrich Nietzsche has emerged as one of the most important and influential modern philosophers. For several decades, the book series Monographien und Texte zur Nietzsche-Forschung (MTNF) has set the agenda in a rapidly growing and changing field of Nietzsche scholarship. The scope of the series is interdisciplinary and international in orientation reflects the entire spectrum of research on Nietzsche, from philosophy to literary studies and political theory. The series publishes monographs and edited volumes that undergo a strict peer-review process. The (...) book series is led by an international team of editors, whose work represents the full range of current Nietzsche scholarship. (shrink)

There are two sorts of scientists: Dionysians, who rely on intuition, and Apollonians, who are more systematic. Self-experimentation is a Dionysian approach that is likely to open new lines of research. Unfortunately, the Dionysian approach does not allow one to predict the results of experiments. That is one reason why self-experimentation is not popular among granting agencies.

Scholar of religion Karl Kerényi’s last book, Dionysos, is a grand attempt at reinterpreting ζωη ( zoe ), the Greek concept of indestructible life, which he distinguishes from βίος (bios), finite life. In Kerényi’s view, the meaning and sensual experience of zoe was expressed in its richest form in the Cretan beginnings of the cult of Dionysos. The major characteristics of this cult, as Kerényi describes, were beyond the cultural, political, and sexual limits of the Christian interpretations of life and (...) nature. Searching for modern analogies to zoe , Kerényi explains the idea in relation to molecular biology’s minimum definition of life. Despite the fact that Kerényi’s book contains only minor references to contemporary philosophy, the philosophical consequences of his interpretations of Dionysos are not only radical but outline a notion of biopolitics far in advance of the mid- to late 20 th -century development of it. By the affirmation of indestructible life and animality , Kerényi proposes a new humanism that moves beyond the limits of Kantian anthropology and also takes a radically different perspective to that of Heidegger’s philosophy of being, or Agamben’s notion of biopolitics. According to Kerényi’s investigations, since this alternative humanism, which is based on the radical recognition of the individuality and diversity of life forms, was once possible in an earlier stage of human culture, it is possible to reanimate it in order to shape anew how zoe is understood and therefore lived. Our relation to nature can thereby undergo a Dionysian transvaluation and assign us new responsibilities as well as open up a new trajectory for the 21 st -century human. (shrink)

Under the symbol of Dionysus, god of annihilation, metamorphosis, tragedy, Nietzsche succeeded in fusing elements of the mythological with a new philosophical world view culminating in an anti-ethic «beyond good and evil». «Dionysian Aesthetics» delves into the three periods of Nietzsche's productivity, systematically analyzing the relationships between major works and adhering closely to Nietzsche's «Werdegang». The focus for an understanding of the aesthetic is shifted from «Die Geburt der Tragödie» to the late works of the philo- sophical-Dionysus period.

Walter Kaufmann's monumental study of Friedrich Nietzsche's philosophy, Nietzsche:Philosopher,Psychologist,Antichrist (1950) dramatically transformed Nietzsche interpretations in the postwar United States and rendered Kaufmann himself a dominant figure in transatlantic Nietzsche studies from 1950 until his death in 1980. While the longevity of Kaufmann's hegemony over postwar American Nietzsche interpretations in particular is remarkable, even more so is the fact that he revitalized the career of such a radical thinker in the conservative intellectual climate of the 1950s. Philosophers and historians typically credit (...) Kaufmann with rescuing Nietzsche from the Nazis, but argue that he did so by denaturing Nietzsche's philosophy of power and narrowly transforming him into an existentialist. By contrast, this essay argues that Kaufmann took a much more dramatic step by extending the scope of Nietzsche's philosophy, demonstrating how his ideas resonated with but also transcended the dominant philosophies of the day. Kaufmann presented Nietzsche as a philosopher uniquely poised to bridge the increasing mid-century rift between continental and analytic philosophies, as well as between the increasingly distinct moral worlds of academic philosophers and general readers. At a time when philosophical discourses within the university and beyond were pulling apart, Kaufmann put Nietzsche to work to bring them back together. By emphasizing Nietzsche's harmony with the range of scholarly and popular philosophical concerns of mid-century, he also established, for the first time in the United States, Nietzsche's role as a canonical thinker in the Western tradition. (shrink)

ὥστε καθάπερ τοὺς ὑποκρινομένους,οὕτως ὑποληπτέον λέγειν καὶ τοὺς ἀκρατευομένους.Arist. Eth. Nic. 7.3.1147a22-4In Attic Nights 20.4, Aulus Gellius reports how his Athenian teacher, the Platonist L. Calvenus Taurus, advised one of his pupils to temper his devotion to stage actors and to turn his attention to the study of philosophy. Wishing to divert his student from associating with theatre people, Taurus assigned the daily reading of a specific chapter from Aristotle's Προβλήματα Ἐγκύκλια. He sent his student an extract from the book, (...) which Gellius quotes : ‘Why are Dionysian artists mostly worthless people?’—the problem is still extant in the Aristotelian collection of Problemata physica that came down to us. The explanation Aristotle suggested is that ‘these men are least familiar with reason and philosophy, since they devote most of their life to the necessary arts, and because they are in an intemperate state most of the time, sometimes even in difficulties, both of which conditions cause meanness ’. (shrink)

Although many aspects of Bonaventure’s little classic De Reductione Artium ad Theologiam have been addressed in recent literature,1 the translation of the title remains problematic, not only from Latin into English but also from a Greek precedent into Latin. Calling it “On the Reduction of the Arts to Theology” always requires an explanation of the word “reduction.”2 How all the arts, indeed all of human learning, relate to theology and thus to God can hardly be considered a reduction in the (...) usual sense. “Leading back” is better, because it suggests the overall theological structure, but is still an incomplete translation, as revealed by the Greek background. The Latin word family reducere in this case reflects a .. (shrink)

Bruce Ellis Benson puts forward the surprising idea that Nietzsche was never a godless nihilist, but was instead deeply religious. But how does Nietzsche affirm life and faith in the midst of decadence and decay? Benson looks carefully at Nietzsche's life history and views of three decadents, Socrates, Wagner, and Paul, to come to grips with his pietistic turn. Key to this understanding is Benson's interpretation of the powerful effect that Nietzsche thinks music has on the human spirit. Benson claims (...) that Nietzsche's improvisations at the piano were emblematic of the Dionysian or frenzied, ecstatic state he sought, but was ultimately unable to achieve, before he descended into madness. For its insights into questions of faith, decadence, and transcendence, this book is an important contribution to Nietzsche studies, philosophy, and religion. (shrink)

In arguing that Nietzsche's _Thus Spoke Zarathustra_ is a philosophical explanation of the possibility of modernism—that is, of the possibility of radical cultural change through the creation of new values—the author shows that literary fiction can do the work of philosophy. Nietzsche takes up the problem of modernism by inventing Zarathustra, a self-styled cultural innovator who aspires to subvert the culture of modernity by creating new values. By showing how Zarathustra can become a creator of new values, notwithstanding the forces (...) that hinder his will to innovate, Nietzsche answers the skeptic who proclaims that new-values creation is impossible. _Zarathustra_ is a story of repeated clashes between Zarathustra's avant-garde, modernist intentions and figures of doubt who condemn those intentions. Through a close reading of _Zarathustra_, the author reconstructs Nietzsche's explanation of the possibility of modernism. Showing how parody, irony, and plot organization frame that explanation, he also demonstrates the central significance of Zarathustra's speeches on the body and the will to power. The author argues that Nietzsche's critique of the modern philosophy of the subject revises Kant's concept of the dynamical sublime and makes allegorical use of the myth of Theseus, Ariadne, and Dionysus. He also proposes an original interpretation of the thought of eternal recurrence. Breaking with conventional Nietzsche scholarship, the author conceptualizes the thought not as a theoretical or a practical doctrine that Nietzsche endorses, but as a developing drama that Zarathustra performs. (shrink)

Although much has been written about Nietzsche’s views on education over the years, and much has also been written about Dionysus, the god of wine and ecstasy, very little attention has been given to the meaning of, and need for, a Dionysian education. This two-part article is an attempt to begin that project. In Part One, drawing Nietzsche’s articulation of the Dionysian, Apollonian, and anti-Dionysian into the orbit of broader scholarship on Dionysus, the author invited readers to (...) think about what a Dionysian education might look like in a modern-day school setting, why such an education would be valuable, as well as some of the barriers to implementing such an education and the enjoyment of its fruits. Here in Part Two, the author considers some of the ideas current among philosophy of music scholars concerning “the Dionysian” in rock music. By analyzing and clarifying these views with reference to research conducted in Part One, the author proceeds in Part Two to investigate what combined role rock music and philosophy might play in the high school classroom where a Dionysian education is fostered. (shrink)

Although much has been written about Friedrich Nietzsche's views on education over the years, and much has also been written about Dionysus, god of wine and ecstasy, very little attention has been given to the meaning of, and need for, Dionysian education. In this article, Sean Steel attempts to begin that project. Drawing Nietzsche's articulation of the Dionysian, Apollonian, and anti-Dionysian into the orbit of broader scholarship on Dionysus, Steel invites readers to think about what a (...) class='Hi'>Dionysian education might look like in a modern-day school setting, as well as to consider what challenges exist for the implementation of such a vision of education. (shrink)

_Nietzsche and the Dionysian_ argues that the Dionysian affect in Nietzsche’s early work can be linked to an originary interruption of self-consciousness articulated by the philosophical companion, who compels us to respond to the plurality of life they express by being ‘true to the earth’ and ‘becoming who we are’. Such an ethics, compelled by the Dionysian affect, grounds any future for humanity in the affirmation of the earth and life.

Although much has been written about Nietzsche’s views on education over the years and much has also been written about Dionysus the god of wine and ecstasy, very little attention has been given to the meaning of, and need for, a Dionysian education. This article is an attempt to begin that project. Drawing Nietzsche’s articulation of the Dionysian, Apollonian, and anti-Dionysian into the orbit of broader scholarship on Dionysus, the author invites readers to think about what a (...) Dionysian education might look like in a modern-day school setting, why such an education would be valuable, as well as some of the barriers to implementing such an education and the enjoyment of its fruits. Part One of this larger inquiry is followed by Part Two in a later issue, where we consider what role rock music and philosophy might play in the high school classroom where a Dionysian education is fostered. (shrink)

A book chapter in the volume Punk Rock and Philosophy: Research and Destroy on how punk rock can be interpreted through the lens of Friedrich Nietzsche's philosophy.

It is often asserted that Nietzsche's proposal that "there is no truth" is indebted to his views on aesthetics. That is, it is argued both that Nietzsche perceived art as exclusive of truth, and that he viewed the whole of existence as artistic in this sense. In this paper I attempt to supplement this argument by excavating the sense of truth that is available in Nietzsche's thought concerning art. "Dionysian truth" is not a property of objects which represent the (...) world. Rather, it arises in acts of artistic creation. I hope, here, to present a view of truth which is compatible with Nietzsche's attempt to understand the world as a process of conflicting forces rather than a collection of subjects and objects. ;The first chapter is concerned with Nietzsche's The Birth of Tragedy, in which music is offered as an example of Dionysian truth. Music, in this work, enables us to overcome our sense of ourselves as isolated self-consciousnesses, an experience which engenders artistic creativity. The notion of Dionysian truth, however, is not fully disassociated, in The Birth of Tragedy, from the view that music pictures or represents the "world will." ;In the second chapter I argue that Nietzsche's commitment to the Dionysian is apparent in his unique understanding of physiology. The authority of the ego is undermined by exhibiting it as an epiphenomenon of the more fundamental physiological drives. I argue that such an understanding subverts the claim that Nietzsche values art as a means of sublimating the passions, as well as the claim that Nietzsche ultimately identifies truth with that which serves our own self-preservation. ;The third chapter demonstrates how a specific artistic practice,Expressionist Painting, understands itself in Dionysian terms, and suggests reasons why a Dionysian view of art may not offer itself as a means for the evaluation of artworks. Finally, I attempt to show how the understanding of power which is structured by a Dionysian perspective may help us to overcome some of Nietzsche's negative and reactionary suggestions that the powerful are, or should be, cruel and manipulative towards others. (shrink)

Like Aristophanes’ Frogs, Plato’s Symposium stages a contest between literary genres. The quarrel between Socrates and Aristophanes constitutes the primary axis of this contest, and the speech of Alcibiades echoes and extends that of Aristophanes. Alcibiades’ comparison of Socrates with a satyr, however, contains the key to understanding Socrates’ implication, at the very end of the dialogue, that philosophy alone understands the inner connectedness, and hence the proper nature, of both tragedy and comedy. I argue that Plato reflects in the (...) character of Socrates the primordial wisdom embodied in satyric drama. I conclude with a brief consideration of Nietzsche’s challenge to Plato’s Dionysian wisdom. (shrink)

Like Aristophanes’ Frogs, Plato’s Symposium stages a contest between literary genres. The quarrel between Socrates and Aristophanes constitutes the primary axis of this contest, and the speech of Alcibiades echoes and extends that of Aristophanes. Alcibiades’ comparison of Socrates with a satyr, however, contains the key to understanding Socrates’ implication, at the very end of the dialogue, that philosophy alone understands the inner connectedness, and hence the proper nature, of both tragedy and comedy. I argue that Plato reflects in the (...) character of Socrates the primordial wisdom embodied in satyric drama. I conclude with a brief consideration of Nietzsche’s challenge to Plato’s Dionysian wisdom. (shrink)

This article explores how a nonreductionist account of Nietzsche's influence on Michel Foucault can enrich our understanding of key concepts in singular works of both philosophers. I assess this exegetical strategy by looking at the two dichotomies Apollinian/Dionysian and ars erotica/scientia sexualis in The Birth of Tragedy and volume 1 of The History of Sexuality, respectively. After exploring the relation between these two dichotomies, I link the science of sexuality to the Apollinian art instinct via the existence of Socratic (...) culture and argue against the "pleasure of analysis" as a sublated form of (Dionysian) ars erotica. These considerations lead to the notions of history in Nietzsche's and Foucault's philosophies that result in situating the polyvalent Ursprung of Greek tragedy and the descent of ars erotica and scientia sexualis in an antimetaphysical and nonteleological picture of historical development.. (shrink)

Book synopsis: 32 specially written essays, by world-renowned scholars in the field State-of-the-art, comprehensive coverage of Nietzsche's life, works, and central ideas Includes chapters on all of Nietzsche's principal works Essential reading for anyone working in the area The diversity of Nietzsche's books, and the sheer range of his philosophical interests, have posed daunting challenges to his interpreters. This Oxford Handbook addresses this multiplicity by devoting each of its 32 essays to a focused topic, picked out by the book's systematic (...) plan. The aim is to treat each topic at the best current level of philosophical scholarship on Nietzsche. The first group of papers treat selected biographical issues: his family relations, his relations to women, and his ill health and eventual insanity. In Part 2 the papers treat Nietzsche in historical context: his relations back to other philosophers—the Greeks, Kant, and Schopenhauer—and to the cultural movement of Romanticism, as well as his own later influence in an unlikely place, on analytic philosophy. The papers in Part 3 treat a variety of Nietzsche's works, from early to late and in styles ranging from the 'aphoristic' The Gay Science and Beyond Good and Evil through the poetic-mythic Thus Spoke Zarathustra to the florid autobiography Ecce Homo. This focus on individual works, their internal unity, and the way issues are handled within them, is an important complement to the final three groups of papers, which divide up Nietzsche's philosophical thought topically. The papers in Part 4 treat issues in Nietzsche's value theory, ranging from his metaethical views as to what values are, to his own values of freedom and the overman, to his insistence on 'order of rank', and his social-political views. The fifth group of papers treat Nietzsche's epistemology and metaphysics, including such well-known ideas as his perspectivism, his INSERT: Included in Starkmann 40% promotion, September-October 2014 being, and his thought of eternal recurrence. Finally, Part 6 treats another famous idea—the will to power—as well as two linked ideas that he uses will to power to explain, the drives, and life. This Handbook will be a key resource for all scholars and advanced students who work on Nietzsche. (shrink)

This book offers an analysis of Nietzsche as a political philosopher in the context of the political movements of his era. Don Dombowsky examines Nietzsche’s political thought, known as aristocratic radicalism, in light of the ideology associated with Napoleon I and Napoleon III known as Bonapartism. Dombowsky argues that Nietzsche’s aristocratic radicalism is indistinguishable from Bonapartism and that Nietzsche is a delegate of the Napoleonic cult of personality.