Dionysian

(redirected from Apollonian)
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Words related to Dionysian

of or relating to or worshipping Dionysus

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References in periodicals archive ?
Exceptionally knowledgeable about Nietzsche's writing and the voluminous commentary it has generated, Kornhaber refuses to commit either to an Apollonian or Dionysian perspective on Nietzsche and the theatre.
Like Aschenbach, Michel is a respectable, publicly acclaimed figure that has neglected his carnal needs in order to pursue the Apollonian course of intellectual development.
Dreams are the most basic Apollonian phenomena, "in the production of which every man proves himself an accomplished artist.
In The Birth of Tragedy, Nietzsche defines Apollo and Dionysus as "the starting-point for our recognition that there exists in the world of the Greeks an enormous opposition" between the Apollonian sculpting or form-giving drive and the Dionysian imageless and musical drive that exist "side by side, mostly in open conflict, stimulating and provoking [reizen)] one another [.
One does not need to consult the sexual theories of children in order to consider the pique of castration anxiety associated with the human navel, here the primordial locus of the Apollonian nomoi.
The Dionysian perspective of the world, in Modernity, brings on its trail the Nietzschean distinction between the barbarian Dionysus and the Dionysus of the Greek, Apollonian civilization.
The most interesting chapters from a political viewpoint are those of Carey Seal ("Civil War and the Apollonian Model in Valerius' Argonautica", pp.
While granting problems--sometimes severe--in Nietzsche and Kierkegaard, he employs Lonergan's "transformations of consciousness" both to reorient Nietzsche's account of the Dionysian and Apollonian in the direction of authentic self-transcendence and to preserve "the genius of Kierkegaard's anthropology" without dismissing Balthasar's concern with the Danish philosopher's diminishment of the aesthetic.
What Nietzsche describes as the Apollonian, associated with clarity, consciousness, and control, bears evident affinities with Schopenhauer's account of representation, while what Nietzsche describes as the Dionysian, associated with chaotic energy, passion, and the collapse of distinctions, bears evident affinities with Schopenhauer's account of will.
Motifs like the polarization between the Apollonian and the Dionysian, or irony as an aesthetical veil on the tragic reality of life, are deeply incorporated into Savinio's writings, first of all in Hermaphrodito (1918), which, in contrast to many critics, Bellini takes not as the source of all subsequent writings but as a starting point from which Savinio gradually moved away.
He often cited Nietzsche's Apollonian and Dionysian opposition.
Yet these works, with their calm, almost Apollonian appearance, do not, in fact, lack playfulness or ironic lightness.
Nietzsche pits intuition, metaphor, and the Dionysian against rationality, conceptual reification, and the Apollonian.
Apollonian ball packings form a renowed class of infinite ball packings, see for instance [GLM+05, GLM+06].
At the time, Nietzsche was a professor of classical philology (the study of language in written historical sources); in The Birth of Tragedy, he contemplated the Apollonian and Dionysian elements of classical Athenian tragedy, viewing ancient plays as an art form that rose above the fundamental hopelessness, meaninglessness, and nihilism that surrounds life.