This chapter contains sections titled: Music, Science, and the Interpretation of Existence Dionysus and Apollo The Music of Dionysus Music, Science, and the Interpretation of Existence (Reprise).

This book recovers Dionysus and Apollo as the twin conceptual personae of life's dual rhythm in an attempt to redesign contemporary theory through the reciprocal affirmation of event and form, earth and world, dance and philosophy.

This volume provides the reader with the substantial evidence, presented here for the first time in a chronological manner, of the essential place that Dionysus occupied in Greek and Roman political thought. The eleven chapters that make up the volume are authored by an interdisciplinary team of scholars (including four top specialists in the field, Cornelia Isler-Kerényi, Richard Seaford, Richard Stoneman and Jean-Marie Pailler) and cover the period from archaic Greece to the late Roman empire. The reader can therefore (...) observe how the political ideas and motifs rooted in Greek classical thought were continued, adapted, and developed in successive periods of history. The contributors reconstruct the political significance of Dionysus by examining different kinds of evidence: historiography, poetry, coins, epigraphy, art, and philosophy. They discuss the place of the god in the politics of Greek city-states, explore the long tradition of imitating Dionysus that ancient leaders, from Alexander the Great to the Roman emperors, manifested in various ways, as well as demonstrate how the political role of Dionysus was reflected in Orphism and Neoplatonist philosophy. Dionysus and Politics provides an excellent introduction to a fundamental feature of ancient political thought which until now has been largely neglected by mainstream academia. The book will be an invaluable resource to students and scholars interested in ancient politics and religion. (shrink)

Dionysus after Nietzsche examines the way that The Birth of Tragedy by Friedrich Nietzsche irrevocably influenced twentieth-century literature and thought. Adam Lecznar argues that Nietzsche's Dionysus became a symbol of the irrational forces of culture that cannot be contained, and explores the presence of Nietzsche's Greeks in the diverse writings of Jane Harrison, D. H. Lawrence, Martin Heidegger, Richard Schechner and Wole Soyinka. From Jane Harrison's controversial ideas about Greek religion in an anthropological modernity, to Wole Soyinka's reimagining (...) of a postcolonial genre of tragedy, each of the writers under discussion used the Nietzschean vision of Greece to develop subversive discourses of temporality, identity, history and classicism. In this way, they all took up Nietzsche's call to disrupt pre-existing discourses of classical meaning and create new modes of thinking about the Classics that speak to the immediate concerns of the present. (shrink)

This essay pursues Gilbert Durand’s plea for a new anthropological spirit that would overcome the bureaucracy-or-madness dichotomy which has since Nietzsche left its imprint upon contemporary thought, forcing it to choose between an “Apollonian” ontology established upon some kind of first principle and a “Dionysian” ontology consisting in the erasure of any founding norm. It does so by reclaiming Dionysus and Apollo’s original twin-ness and dual affirmation in dialogue with contemporary anthropological theory, especially Roy Wagner’s thesis on the interplay (...) of “elicitation” and “containment” in sociocultural life. What would happen then, I ask, if we were to reimagine today’s philosophical game – which after Heidegger Deleuze, and Derrida turns variously and increasingly around subtraction – otherwise: as a chiastic board on which Apollo would cut Dionysus’s continuum, which Dionysus would in turn restore despite Apollo’s cuts, and on which the obliteration of any of the two gods would entail the inevitable dismemberment of the other? Accordingly, I offer a full reassessment of Dionysus’s and Apollo’s complementary roles in ancient-Greek culture in discussion not only with Nietzsche’s Dionysian philosophy but also with Ihab Hassan’s postmodern critique of Orpheus. All of it less with the purpose of putting forward a new metaphysics than with the intent of restating the translucent-ness that keeps together reality and thought against any claim that they are either transparent or opaque to one another. (shrink)

Purpose. The research is based on the analysis of the cult of Dionysus: the introspection of the irrational content of the "Dionysian states", in the symbolism of which an alternative scenario of gender relations is codified, based on autonomy and non-destructive interdependence. The achievement of this goal involves, firstly, the "archeology" of telestic madness and orgasm as the liberating states the comprehension of their semantic potential for the outlook of the Dionysian neophyte, and secondly, to identify the features that (...) are likened to the cult community of Dionysus to an autonomous gender and, thirdly, to characterize the metamorphosis of the Dionysian imagery in the postmodern consciousness. Theoretical basis. The study of the symbolism of Dionysus and its Genesis in the processes of the mass consciousness is important to clarify trends in gender distancing as in antiquity and in the modern era. Specific sensory and mental qualities encoded in the images of Dionysian madness, vakhtnag of violence and the eternal alien, the awareness of which is determined by the Dionysian thematizes in the cultural consciousness of post-modernism, the research literature presented in fragments. The phenomenological dimension "exempt States" Dionysian elements, activated the process of social distancing up to the formation of Autonomous gender, are poorly known and basically are reduced to manifestations of marginality and asocial. However, the specifics of the cult of Dionysus, the authors see the origins of ideas about a purely female and male and the dynamics of the transmutations of his imagery is proposed to understand how the successive stages of their formation, not the symptoms of the cultural crisis and deviant behavior. Originality. The article examines the phenomenology of the practice of personality transformation as the psycho-psychological basis of ideas about gender identity. Conclusions. The article highlights the socio-cultural and intrapsychic dimension of the study of the cult of Dionysus. It was established that the perception of a cult alien to ancient consciousness occurred during the crisis of the transition from matriarchy to patriarchy, since its meaning associated with the idea of liberation through personality transformation corresponded to the mental state generated by social isolation of women and had a therapeutic effect. (shrink)

The article attempts to reveal the mutual relations between: the figure of the Greek god Dionysus, inseparable companion of the philosopher throughout his work, and, in contrast, the somewhat mysterious figure of the overman, who burst like a meteor in the first pages of the book “Thus Spoke Zarathustra”. Genetically linked not only to Greek mythology but also to Schopenhauer’s will, Nietzsche’s Dionysus already in “The Birth of Tragedy” appears on the other side of good and evil and (...) sanctions the supremacy of aesthetic values over moral values; in the middle stage of Nietzsche's work Dionysianism leads the philosopher to the idea of the eternal recurrence; finally, in the third stage Dionysus is drawn into a war with Christianity and is polemically sharpened in the formula “Dionysus Versus the Crucified”. At different stages of Nietzsche’s work almost all of his major philosophical ideas – except one – either derived directly from Dionysianism or were aligned with it. The image of the overman at the moment of its appearance was so out of the general picture of the philosopher's doctrine, that in the course of time he had to “correct” it. The overman loses his most outstanding, but, as it turned out, superfluous features in “Twilight of Idols”, “The Anti-Christian”, and “Ecce Homo”. Having lost interest in the idea of the overman, Nietzsche tries in his last works to structure and complete his philosophical doctrine, returning to Dionysus. By analysing his later works, the author hopes to draw the attention of researchers to these attempts of the philosopher. (shrink)

Introduction: Play, Power, and the Western Mentality Whereas play has always had an important, if sometimes unthemat- ized, role in Western literary ...

The theatrical guild in Roman Smyrna assigned the epithet Briseus to Dionysus: the reference was probably to the Brisei of Thrace, and honoring Thracian Dionysus, leader of the Bacchai, is consistent with the Smyrnaean actors styling themselves mystai.

The origin of the worship of Dionysus, however, need not concern us here. What matters is that his cult found fertile soil in post-Homeric Greece, and, spreading like an epidemic, was firmly established there no later than the seventh century. Poets, artists, philosophers, kings, and above all the mass of the people, all felt Dionysus' power and responded to his attraction in a variety of ways. Who was this strange god who exerted, in defiance of all opposition, such (...) a great influence on the life of Greece? (shrink)

Epitomized in the bodily exhibitions of ‘fitspiration’, photo-based social media is biased toward self-beautification and glorification of reality. Meanwhile, evidence is growing of psychological side effects connected to this ‘pictorial turn’ in our communication. In The Birth of Tragedy, Nietzsche poses the question how ugliness and discord can produce aesthetic pleasure. This paper proceeds from an inverse relationship and examines why glorification of appearances and conspicuous beauty fails to do the same, and even compounds suffering. Drawing on the Apollo-Dionysus (...) dualism undergirding Nietzsche’s aesthetic philosophy, I posit a deeper relation between the saturation of visual self-exhibitionism typified in fitspiration and its empirical effects. Concentrating on the medium and self-representational photograph, I argue that Instagram is primarily an instrument of Apolline artifice and that the pictorial turn which defines the present centers Apolline mediation to the detrimental exclusion of meaningful communion with its Dionysiac antithesis. For users immersed in this Apolline sphere of visual self-representation, a fractured existence beholden to conditions of the image ensues—comprising surface-level appearances, deification of the moment, and loss of existential sustenance through myth. By positioning fitspiration not as an aberration but as the logical conclusion of the medium’s intrinsic Apolline property, it becomes a litmus test of the entire visual landscape and illustrative of the implications that uncritical participation in it may bring. (shrink)

In Frogs Aristophanes presents the comic katabasis of Dionysus, whose quest is to bring back the recently deceased Euripides and restore him to the Athenian literary scene. In the prologue Dionysus and his slave, Xanthias, seek out Heracles and ask his advice about the journey below. After some comic play, as they consider various short-cuts, Heracles finally gives Dionysus a serious lesson in Underworld geography . The various items on this itinerary – Charon, terrifying beasts, filth and (...) excrement, sinners, μσται – are all encountered on Dionysus' journey, each transformed for humorous effect. Dionysus crosses the lake on Charon's barque, but is forced to row . At this point we have the introduction of the off-stage chorus that gives the play its name. In what appears to be a kind of false parodos Dionysus engages in a metrical tug-of-war with the frogs that finally spoils his rowing rhythm. After disembarking, he is joined by Xanthias, who was forced to walk around the lake, and they find themselves in the place of σκτος κα βρβορος , where they see the miscreants . In place of εις and θηρα μυρα δειτατα , our heroes are terrified by the figure of Empousa, who is seen by Xanthias alone . When Empousa is gone, there appears the chorus of initiates, whose song constitutes the parodos. (shrink)

This chapter examines the mystical and erotic in Hillman’s early thought through the influence of the ancient Greek god Dionysus. With a focus on the embodied, emotional, and erotic nature of Dionysus, I will show how these qualities came to formulate the core theoretical vision of Hillman’s archetypal hermeneutic and served as a critique of traditional psychological epistemologies, as well as of normative scholarly approaches in both the humanities and sciences. In “saving” image, symbol, and even the “mystical,” (...) from an analytic, disembodied, and misogynist reductionism, Hillman’s archetypal psychology champions a form of transformational subjectivity, and personally redemptive mysticism, through an ontological affirmation of what Jung understood as the reality of the psyche. (shrink)

William Storm reinterprets the concept of the tragic as both a fundamental human condition and an aesthetic process in dramatic art. He proposes an original theoretical relation between a generative and consistent tragic ground and complex characterization patterns. For Storm, it is the dismemberment of character, not the death, that is the signature mark of tragic drama. Basing his theory in the sparagmos, the dismembering rite associated with Dionysus, Storm identifies a rending tendency that transcends the ancient Greek setting (...) and can be recognized transhistorically. The dramatic character in any era who suffers the tragic fate must do so in the manner of the ancient god of theater: the depicted self is torn apart, figuratively if not literally, psychologically if not physically. Storm argues that a newly objectified concept of the tragic can prove more useful critically and diagnostically than the traditional and more subjective tragic "vision." Further, he develops a theory of the tragic field, a model for the connective and cumulative activity that brings about the distinctive Dionysian effect upon character. His theory is supported with case studies from Agamemnon and Iphigenia in Aulis, King Lear, and The Seagull. Storm's examination of the dramatic form of tragedy and the existential questions it raises is sensitive to both their universal relevance and their historical particularity. (shrink)

In the Classical Quarterly, xlix , Mrs. A. D. Ure mentions a Corinthian pyxis which had been previously published by her in the Journal of Hellenic Studies, lxix. 19 f. . This vase, at first believed to be of Boeotian origin, appears to come from Corinth, as subsequently shown by Mrs. Ure in J.H.S. lxxii. 121. Its subject is quite well known, consisting of an unbearded figure dressed in a fawn-skin with two horns growing from its head, and sitting on (...) what very probably is a heap of corn. In his right hand he is holding a staff thickened at the head, and in his left a stick terminating in forklike prongs. The figure is flanked on the right by a small animal and on the left by a basket of fruit. (shrink)

The play's the thing,"1 Hamlet says in act 2, scene 2 of Shakespeare's finest tragedy. Hamlet is referring here to the forthcoming performance of The Mousetrap, the play that he has asked the newly arrived players to perform that evening in the presence of his mother and uncle. "The play's the thing," Hamlet says, "Wherein I'll catch the conscience of the King". But it is not confirmation of his uncle's guilt as the murderer of his father that Hamlet really needs (...) or ultimately receives from this piece of theater he has asked be performed but rather the clarification and redemption of his own confused and violent psyche.Hamlet is a character who spends the first two acts of Shakespeare's play alternately... (shrink)

FOREWORD Dr. Rose Pfeffer's interpretation of Nietzsche's work is an important contribution to the understanding of this ever- ...

Le présent volume sur Dionysos est issu d’un colloque qui a eu lieu à l’université de Varsovie en janvier 2019, dans le cadre du National Programme for the Development of Humanities financé par le ministère polonais de la Science et de l’Éducation supérieure. Il se concentre sur un aspect spécifique du dieu grec, celui de son rapport avec la politique et l’autorité. Dans une brève introduction (p. 1–5), Filip Doroszewski et Dariusz Karlowicz rappellent que, par-delà l’imaginaire nietzschéen d...

The fragments of a hexameter poem about Dionysus recently discovered in a palimpsest (Sin. Ar. NF 66) reveal some different faces of Dionysus, including an Adonis-figure at the heart of a dispute between two goddesses (Persephone and Aphrodite), and a personified wine-god, Oinos, threatened by the machinations of his enemies in the court of Zeus. These palimpsest texts help to illuminate some of the allusions to the early life of the god that have long puzzled scholars, especially in (...) some of the early Christian apologists and the collection of OrphicHymns. (shrink)

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

The Anthropocene is neither the only, nor an entirely satisfactory, model for a twenty-first century ecocriticism. My paper tests the Anthropocene from within Anglophone theory that seeks to recuperate what has been historically marginalized: the feminine, the body, the nonhuman and the unconscious. It is possible to evade the heroic masculinist overtones of the Anthropocene by dis-membering him. Using two apparently discrete modes of fracturing—the psychoanalysis of C. G. Jung and the transdisciplinarity of Basarab Nicolescu—, I suggest a dismembered body (...) of knowing that leaves room for the other as that which cannot be rationally controlled. Dionysus in his bisexual dismemberment can help us re-member a different kind of relation to our planetary home. (shrink)

Rather than representing a break with his earlier philosophical undertakings, The Birth of Tragedy can be seen as continuous with them and Nietzsche's later works. James Porter argues that Nietzsche's argumentative and writerly strategies resemble his earlier writings on philology in his 'staging' of meaning rather than in his advocacy of various positions. The derivation of the Dionysian from the Apollinian, and the interest in the atomistic challenges to Platonism, are anticipated in earlier works. Also the theory of the all-too-human (...) subject is a thread that runs throughout Nietzsche's oeuvre, critically undoing what his philosophy appears to erect, confirming that Nietzsche is a most unreliable witness to his own meaning. As well as studying the relation of The Birth of Tragedy to later writings, the author examines it on its own terms as a self-standing and complete piece of imagining, with close regard to the self-presentation of the work itself. (shrink)

Spariosu, a professor of Comparative Literature at the University of Georgia, is really a philosopher of culture. In this book, in his earlier Literature, Mimesis, and Play: Essays in Literary Theory, and in different articles, he outlines a theory influenced by Eric Havelock, E. R. Dodds, Werner Jaeger, and Rene Girard, but which in fact is quite original. The author argues in the first half of his book that in the nineteenth and twentieth centuries, Western culture accommodates two opposing concepts (...) of play. The first, the aesthetically moderated view of Kant and Schiller, is more rational and mediated. While this model of play is a reaction against the repression of the play instinct by the rationalist and post-Aristotelian tradition, it stops short of a full return to Dionysus. According to Spariosu this type of moderation merely intends to provide some flexibility to the empirical-rationalist mainstream of Western thought and to enrich it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:André Cadieux THE JUNGLE OF DIONYSUS: THE SELF IN MANN AND NIETZSCHE "nphe self," wrote Kierkegaard, "is a relation which relates itself to A its own self." From this cryptic saying we may at least infer that to be a self is to be self-conscious. But the human self has always resisted its reflexive scrutiny, and thus remains mysterious to itself. "What—on the assumption that it has one—is (...) its essence?" "Of what moral nature is that essence?" "What possibilities of self-transcendence does the self contain?" These questions are, or ought to be insofar as we pride ourselves on being reflective, central questions for us all. They were surely central to Friedrich Nietzsche and Thomas Mann, but it is the burden of this article to argue that these men were united, at least at a certain point in the career of each, in their answers as well as in their questions. If we accept this claim, then we must either find dubious Mann's assertion about Nietzsche, "I took nothing literally, I believed him hardly at all,"1 or accept it on pain of believing in the occurrence of an extraordinary coincidence. For (I submit) a full understanding of Aschenbach's fate in Death in Venice yields a vision of human life and the self that is identical to that of Nietzsche in The Birth of Tragedy. Mann's central symbol is thejungle; it is, in fact, thejungle of Nietzsche's Dionysus. I When death, in the person of the gaunt stranger with the vertical furrows in his brow (pp. 4-5),3 comes to lead Aschenbach on his last journey, our sense of symmetry disposes us to find in the story some symbol of life as well. And initially it looks as if, in Aschenbach's vision of the jungle "thick with incredible bloom" (pp. 5-6), we have it. But if we follow Mann into the psyche of Gustave Aschenbach, we shall see that the matter is not so simple. Aschenbach, at the height of 53 54Philosophy and Literature his powers—a nobleman at fifty, whose prose is by now a textbook paradigm (p. 14)—is declining, suffering from a "growing fatigue, which no one must suspect," and longs to travel because travel will remove him from "the spot which was the daily theatre of a rigid, cold, and passionate service" (p. 7), a service which he finds it increasingly difficult to maintain. But why the difficulty? He was not naturally robust—which made his efforts of will "the more morally valiant" (p. 9); but what is there in the writer's art that should demand such stamina? Aschenbach had himself said "that almost everything conspicuously great is great in despite," and of the truth of that saying his own life was an exemplar (p. 1 1). But in despite of what? The text mentions mundane obstructions and afflictions, but these are superficial. We must look for our answer in that force against which Aschenbach has most strenuously set himself. That force, it emerges, is knowledge. The conspicuously great is great in despite of its temptation by knowledge. Knowledge is for Aschenbach, strangely, a "sharp and bitter irritant" which blunts the mind, and because it had for him this property he "turned his back on the realm of knowledge, and passed it by with averted face" (pp. 12-13). He renounces sympathy with this "abyss," and in its place achieves "the miracle of regained detachment," which issues in a style of "lofty purity, symmetry, and simplicity, which gave his productions a stamp of the classic" (p. 13). But what is this dread knowledge, why is it dreaded, and what is the detachment sought in its stead? It is knowledge, we must conclude, of the human soul. Aschenbach's great novel, The Abject, is to be interpreted as "a rebuke to the excesses of a psychology-ridden age," excesses which stand condemned because they issue in "the flabby humanitarianism" expressed in Madame de StaëPs maxim that to understand all is to forgive all (p. 13). Aschenbach, in short, rejects knowledge of the true self because it leads to the self's acceptance of the self... (shrink)

ABSTRACTA Danish fitness chain recently introduced a new concept called Bubbles & Squat. Here, fitness training is combined with free champagne and music. In this paper, we examine this new way of bringing parties, alcohol and physical culture together by exploring the possible meaning of it through existential philosophical analysis. We draw in particular on Nietzsche’s distinction between the Apolline and the Dionysiac, as well as his account of great health. On this basis, we analyse Bubbles & Squat as a (...) case of Dionysiac intoxication, excess and ecstasy sneaking into contemporary Apolline fitness culture. In the last part of the paper, we raise the question if adding parties and bubbles to fitness training may, perhaps paradoxically, be healthy for the participants in an existential sense because it contributes to existential balance between the Dionysiac and the Apolline. We conclude that the philosophical framework presented in this paper can contribute to a new understanding of a general physical c... (shrink)