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Words related to Dionysian

of or relating to or worshipping Dionysus

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Nietzsche certainly sees tragic wisdom and the ability to rejoice in all of existence as the result of heightened tensions between Apollonian and Dionysian forces in the soul; but he identifies the anti-Dionysian forces that serve to deny this redemptive agon as the primary cause for all our modern suffering, decadence, and weakness.
Against Kant's linear affirmation and deification of the human intellect, reason and morality confirmed via his teleological construal of the feelings and ideas of the beautiful and sublime (still posited as dualistic in the third Critique), Nietzsche proposes the cosmological/physiological (or namely phusis-based) affirmation of human life, art and nature through the very unity of the Apollonian and Dionysian (joy and suffering (146)) within the post-metaphysical principle of becoming.
Although tragedy had been destroyed by the later Greek attempts to eliminate the Dionysian element-giving rise to the "Socratic" (theoretical, rationalist, scientific) culture that still dominated Europe-Nietzsche hoped for a "rebirth of tragedy" through a realliance of Apollonian and Dionysian impulses (pp.
It is the will, then, that manifests as the Apollonian and Dionysian "artistic drives" in man.
That Thomas Wolfe was influenced by the antagonism that existed between the Apollonian and Dionysian aesthetics during the Modernist period becomes quickly apparent upon review of his major works.
For example, in their discussion of the interdependence of the Apollonian and Dionysian drives, B&J claim that 'the drives cannot be reckoned with other than as a pair, even if they deny one another' (33).
The satyr's embodiment of either the old orality of French poetry or the printed French language's challenge to Greek and Latin recalls the "uneasy co-existence" (90) of Apollonian and Dionysian music making in pictorial arts at Fontainebleau.
Readers will also discover within these poems an unasserting, quiet consideration of the relationship of high art and popular, the Apollonian and Dionysian, the metaphysical and the physical.
He and Doris Humphrey, his mentor, spoke constantly about the contrast between Apollonian and Dionysian qualities.
Throughout Exploring Twentieth-Century Music much stock is placed in the varying degrees to which the combination of Apollo and Dionysus factor into Whittall's accounts of music composed in the 1900s; or better, the balance between Apollonian and Dionysian attributes becomes a ubiquitous means of assessment of the repertoire.
The opposition between Apollonian and Dionysian is one of art vs.