La percepción del Otro desde una perspectiva hegemónica es recurrente en las literaturas heterogéneas, entendidas a grandes rasgos como un tipo de literatura fruto del encuentro entre culturas. Mi objetivo es presentar a la poesía negrista como un evidente caso de literatura heterogénea, aunque con una diferencia: en lugar de perpetuar el punto de vista hegemónico, la poesía negrista latinoamericana, en particular la de Nicolás Guillén, logra una visión de los negros desde la búsqueda de una identidad propia. Teniendo como (...) fundamento la dialéctica nietzscheana dionisíaco-apolíneo, sostengo que la literatura heterogénea en general evidencia una insuficiencia del lenguaje -elemento característicamente apolíneo- en su búsqueda de la representación del Otro, mientras que la poesía de Guillén muestra un mayor grado de cercanía con el Otro, a través de la adopción de un elemento distintivamente dionisíaco: la musicalidad. The perception of the Other from a hegemonic perspective is recurrent in heterogeneous literatures, broadly understood as a kind of literature resulted from the encounter between cultures. The aim of this work is to present "negrista" poetry as an evident case of heterogeneous literature, though different in a way: instead of perpetuating the hegemonic point of view, Latinamerican "negrista" poetry, particularly Nicolás Guillén's, achieves a vision of black people in search of their own identity. Based on Nietzschean Apollonian-Dyonisian dialectic, I maintain that heterogeneous literature in general shows an insufficiency of language -typically Apollonian- in its search for the representation of the Other, whereas Guillén's poetry shows a greater degree of closeness to the Other by adopting an element which is distinctively Dyonisian: musicality. (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.

Nietzsche sometimes praises the drive to order—to simplify, organize, and draw clear boundaries—as expressive of a vital "classical" style, or an Apollonian artistic drive to calmly contemplate forms displaying "epic definiteness and clarity." But he also sometimes harshly criticizes order, as in the pathological dialectics or "logical schematism" that he associates paradigmatically with Socrates. I challenge a tradition that interprets Socratism as an especially one-sided expression of, or restricted form of attention to, the Apollonian: they are more radically (...) disparate. Beyond strengthening the case for this basic point, I develop a distinctive account of what, exactly, distinguishes the Apollonian-classical and Socratic forms of order. To this end, I advance interrelated interpretations of Apollonian-classical simplicity and the "cold" calm that it elicits, by contrast to superficially similar Socratic phenomena. This illuminates Nietzsche's broader ambivalence toward science, in part by clarifying the nature and value of an idealized Apollonian science. (shrink)

아폴론적인 것은 디오니소스적인 것과 함께 『비극의 탄생』의 핵심을 이루는 요소들이다. 그런데 『비극의 탄생』에서 니체는 아폴론적인 것을 고통의 근원인 동시에 고통으로부터의 구원이라 주장한다. 일견 모순적으로 보이는 이 두 가지 입장은 어떻게 생겨난 것이며, 이 모순은 해소 가능한 것일까? 우리는 이 모순을 아폴론적인 것의 변질이란 관점에서 살펴보고자 한다. 니체에 의하면 아폴론적인 것은 소크라테스주의, 즉 극단적인 지성중심주의로 변질되었다. 아폴론적인 것을 소크라테스와 동일시할 경우, 우리는 아폴론적인 것을 고통의 근원으로 간주할 수밖에 없다. 반대로 변질되기 이전의 순수한 아폴론적인 것은 디오니소스적인 것과 상호균형을 이루며, 삶을 미화함으로써 인간을 (...) 고통으로부터 구원할 수 있다.BR 더불어 삶의 미화 기능은 아폴론적인 것이 가진 가장 훌륭한 가치이다. 이 미화기능이 비극의 정신에서만이 아니라 우리의 삶에도 적용되기 때문이다. 이러한 가치로 인하여 아폴론적인 것은 디오니소스적인 것과 함께 『비극의 탄생』에서 필수적인 요소가 된다. (shrink)

Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...) dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)

Starting with the Apollonian Greek theory of techne, Means Without End presents a history of transformations of ideas about technology, viewed within their broader philosophical, theological, and scientific contexts. Critically focusing on the ideological genealogy of technology without limits and finding its cultural roots in Christian theology, it details ideological developments in the Renaissance, Enlightenment, and 19th century which prepared the way for a theory of autonomous technology and for postmodern technoculture in the 20th century.

Vergil’s unusual phrase temptare Thetin (Ecl. 4.32) has long been recognized as an allusion to Catullus’ equally striking imbuit Amphitriten (64.11). This note shows that Vergil’s allusion is more complex, however, evoking the descriptions of the Argo’s construction in both Catullus (64.8-11) and Apollonius (Argon. 1.111-14), and in particular the phrase ἐπειρήσαντο θαλάσσης that occurs in the latter. Vergil employs Catullus as a “window reference” that colors Apollonius’ Argo with darker notions of the sea’s violation that become dominant in the (...) Roman tradition. (shrink)

한국 무속의 성격에 대한 계통학적 분석은 기존 종교학적 성격의 분석 이외에 새로운 연구 범위를 제시하고 이에 따른 새로운 시각으로 접근해 들어갈 필요성이 제기된다. 특히 원시종교가 가지고 있던 원초적인 주술성은 고대종교로 사회가 분화 확대됨에 따라 점차 제의로 양식화되는 과정을 거친다. 더욱이 한국의 자연종교적인 무속에서 이루어지는 굿이라는 제의적인 양식과 더불어 무당에 의해 거행되는 춤과 극적인 양식은 오랜 시간 동안 특정한 입무과정과 교육을 통해 계승되는 특징을 가진다. 이것은 곧 한국 무속의 성격 분석이 문화와 예술의 영역에 이르는 보다 광범위한 분야에서 진행되어져야 한다는 것을 의미한다. (...) 이에 본 논문에서는 서양 문화의 두 기원적 경향성을 분석한 니체의 『비극의 탄생』을 중심으로 한국 무속의 기원과 성격의 의미를 비교문화 사상적 관점에서 분석하여 보고자 한다. 특히 강신무와 세습무를 이분법적으로 구분하기보다 강신무적 요소와 세습무적 요소의 기원적 이중성을 니체가 제시하고 있는 디오니소스적인 것과 아폴론적인 것의 이중적 특성에 비교하여 연구 분석하고자 한다. 그리고 더 나아가 한국의 무속에 두 가지 계통적 성격이 어떠한 문화 예술적 의미로 통합되어 가는가에 대하여 주목하고자 한다. (shrink)

In The Birth of Tragedy, Friedrich Nietzsche celebrated the dueling forces of reason and emotion as personified by the ancient Greek gods Apollo and Dionysus. A subtle Apollonian-Dionysian balance can be observed in TimeSlips, a group-based creative storytelling activity developed in the 1990s and increasingly used in dementia care settings worldwide. This article explains how the Apollonion-Dionysian aspects of TimeSlips are beneficial not only for persons with dementia, but also for their carers. Narrative data from medical students at Penn (...) State College of Medicine who participated in TimeSlips at a local retirement community are shared. (shrink)

It is proposed to consider the main lines of “philosophy of life’s” (F. Nietzsche, H. Bergson, O. Spengler) influence on the poetry and aesthetic theory of the greatest Silver Age poet Osip Mandelstam whose heritage is largely a continuation of Russian “poetry of thought” tradition. As known, the “philosophy of life” ideas formed Silver age culture intellectual background and were actively rethought which can also be traced in Mandelstam’s work, extent). The article sets a task, firstly, to consider “philosophy of (...) life” as integral phenomenon, secondly, to propose conceptual solutions in the framework of which poet's heritage can be investigated as refracting “philosophy of life’s” ideas. This required, on the one hand, relying on existing research, on the other hand, polemicizing with them. Special attention is paid to Mandelstam’s temporal concept. It is shown to what extent it is conditioned by the concepts of the philosophy of life and in what extent by Silver Age philosophical context, namely, by poet's interest in contemporary Russian religious thought. Some “philosophy of life” concepts and constructions in the poet's reception are outlined (the oppositions Apollonian/Dionysian, Aryan/Judaic and the eternal return idea by F. Nietzsche; H. Bergson’s concept of time and memory; the prime symbol and morphology of culture concepts by of O. Spengler, whose influence on Mandelstam’s work has not been studied in this aspect). It is concluded that priority factor that determined poet's attention to “philosophy of life” is its attitude to comprehend time as a derivative of life processes among which the most important place is occupied by culture and cultural creativity. (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 essay focuses on and attempts to uncover the truly radical character of Nietzsche’s early “philological” work, specifically asking after the benefit he claims the study of classical culture should have for our present, late-modern historical moment. Taking up his study of the Pre-Platonic thinkers in 1873’s Philosophie im tragischen Zeitalter der Griechen , the first section analyzes Nietzsche’s statement that history’s principle task is the uncovering of Persönlichkeiten . I argue that it is not at all the subjective character (...) of a psychologized individual that Nietzsche has in mind, but rather the moment of persönliche Stimmung or ‘being attuned’ to the world, which grounds and gives rise to thinking. In the second section, I show that the phusis or ‘nature’ to which the thinker is exposed in this attunement is comparable to the tension between the Dionysian and Apollonian natural forces in tragic poetry, as Nietzsche understands it. This dynamic conception of phusis does not provide a metaphysical substrate or an objectively real ground to which we might return via that Greeks, but is rather essentially phenomenal , i.e. it is nothing other than the movement into and out of appearance, which always entails and requires its reception by the human being to whom it appears. In the final section of the essay, this origin proves for Nietzsche not to be located in a distant past moment. Rather, it is the abyssal origin of the tradition that is always already effective in our present moment, informing our contemporary conceptions of our world and ourselves. (shrink)

Considering the dialectical structure of tragic thought in classical philosophy, one can read Nietzsche’s conception of the tragic in a dialectical way. Reading Nietzsche\'s The Birth of Tragedy in this way is justified, as long as the Apollonian and Dionysian are understood as contrasting impulses who work together in their “reciprocal necessity”. Beginning of the fifth chapter of this book, however, there is a second design of the tragic experience; here Nietzsche emphasizes that Dionysian is the affirmative dimension of (...) the tragic. This non dialectical conception of tragic, as Nietzsche builds it along his work, stresses the non necessity to justify life, the affirmation of life as it is, without deploring and rebuilding it, and without giving it an alien meaning. This conception cancels the negativity which founds the dialectical conception of the tragic, in so far as suffering, vain, and finiteness are no longer seen as opposed to life and in need of an appoint justification: they belong to it. The philosophical task is to ask: of what does the tragic of an absolute affirmation of life consist of, if the dialectic contradiction is repealed. (shrink)

ABSTRACTWhile the Apollonian and Dionysian in Nietzsche’s Birth of Tragedy are often understood as a rehashing of Schopenhauerian metaphysics, recent accounts have shown that his use of these concepts is at odds with such a metaphysics, interpreting them instead as myths. I follow this insight that Nietzsche is engaging in mythmaking in BT, but I argue that proponents of this view have missed an important dimension of that mythmaking: that Nietzsche presents multiple narratives of Apollo and Dionysus from different (...) perspectives, each of which offers different senses of tragic affirmation. This perspectival feature of BT sheds light on the more formal ‘perspectivism’ articulated in the Third Essay of On the Genealogy of Morals, as Nietzsche uses perspective in both cases to generate an epistemic alternative to the life-denying features of modern science. Thus, the metaphysical discussions of the early Nietzsche are inseparable from the development of a stylistic practice that constitutes a radical rejection of metaphysics for the later Nietzsche, and this style is part of a project of generating a more life-affirming approach to knowledge. (shrink)

Nietzsche criticizes the Apollonian ideal of self-knowledge, which is at the heart of Socrates' and Plato's theoretical ideals. From this point of view, the Dionysian process of becoming oneself seems to counter it. Our aim here is to show that the Delphic sentence, as taken up by Plato, is not at all content to be a theoretical ideal but leads directly to practice and to becoming oneself.

Skillful, sophisticated translations of two of Nietzsche's essential works about the conflict between the moral and aesthetic approaches to life, the impact of Christianity on human values, the meaning of science, the contrast between the Apollonian and Dionysian spirits, and other themes central to his thinking.

The essence of Nietzscheanism as a philosophical doctrine has never been characterized by a definite consistency or certainty. Instead "indirect followers" and interpreters of Friedrich Nietzsche's philosophy (since this thinker did not have direct followers or a particular school) resorted to a variety of interpretations of his concepts. Considering that, the hermeneutic aspect of the study not only of Nietzsche's texts, but also of his interpreters allows us to look at the hidden potential of the concepts of the German philosopher (...) from a new point of view. In this research, we seek to focus on looking for Nietzschean roots in Ernst Jünger's creative legacy, tracing the transformation of his ideas along the author's intellectual path and showing how those ideas correlate with those of Friedrich Nietzsche himself and how they differ. As a reference point for any study of interpretations of Nietzsche's philosophy, the author singles out many German philosopher concepts at the edge of various interpretations. Such central concepts in the article include the idea of "Apollonian" and "Dionysian" principles (the first), the anthropological idea of " Overhuman" and the interrelated metaphysical triad of "will to power," "reevaluation of all values," and "eternal return." In addition, one of the leading motives of the 20th century, which can be traced to an attempt to read Nietzschean ideas, postulates their location at the junction of philosophical and political-ideological concepts. Analyzing the peculiar hermeneutic conflict of Nietzschean philosophy based on this phenomenon, the author turns to early attempts to understand and implement the ideas of the German thinker, which were carried out directly in Germany. This context is connected in the article with the formation of the foundations of the conservative revolution and the figure of Ernst Jünger since the interpretation of this thinker, to some extent, can be considered one of the first and, undoubtedly, the most resonant. In the course of the research, the author turns to Nietzsche's original texts, forming a kind of hermeneutic circle of the author and interpreters, interpreters and the interpreted, ultimately obtaining in this system the opportunity for a thorough and as independent as possible analysis of the original ideas, counting on the probability of reducing the error of one's interpretation due to paying attention to the entire interpretive field texts The considered ideas of Ernst Jünger demonstrate this thesis, expanding the contextual field of the Nietzschean Overman and the metaphysics of the Will to Power and giving these concepts in an interpreted form a particular social dimension along with the philosophical one, which provides a new context for the interpretation of the ideas of Friedrich Nietzsche. (shrink)

In the 21st century, Carl Gustav Jung (1875-1961) remains one of the key figures in the field of analytical psychology - and Psychological Types, or The Psychology of Individuation, published in 1921, is one of his most influential works. It was written during the decade after the publication of Psychology of the Unconscious (1912), which effectively ended his friendship and collaboration with Sigmund Freud. Whereas the earlier work had clearly marked Jung's psychoanalytical divergence from Freud it is the Psychology of (...) Types that fully clarifies and presents the nature, quality and characteristics of his analytical psychology. The work, which was in part a consequence of his need to reconcile the competing theories of Freud, whom he regarded as extraverted, and Alfred Adler, whom he saw as introverted, develops his concept of descriptive categories for understanding the human mind in terms of the two essential attitude types: introversion and extraversion. These basic attitudes operate in tandem with four principal interacting functions of consciousness which Jung identifies as sensation and intuition, which are functions of perception, and thinking and feeling, which are functions of judgment. The eight resulting psychological types are then explored, described, identified, characterised and explained in considerable detail, with a soaring range of examples drawn from the whole of human history, culture and experience. In his efforts to explore and illuminate the nature of the unconscious mind and indeed the collective unconscious, he investigates the problems posed by the differing psychological types and how these have manifested from classical and medieval times to the 20th century. His observations range from Aristotle, Socrates and Plato to Tertullian and Origen, and from Abélard and Master Eckhart to Martin Luther and the problem of transubstantiation. Jung takes the listener on an odyssey of human thinking. He considers the problem of types in the works of Schiller and Goethe, and Spitteler and his treatment of the Prometheus myth. He contrasts idealism and realism, the Apollonian and the Dionysian in Nietzsche, and explores a host of philosophical and religious sources from the Bible to Taoism to Brahminism. He considers the nature of the reconciling symbol in Spitteler before analysing the nature of types in modern philosophy, aesthetics and biography, giving detailed consideration to William James' characteristic pairs of opposites and Furneaux Jordan's 'character sketch of the emotional types'. Jung goes on to fully identify and describe the characteristic differences between the extraverted and introverted types and provides an extensive chapter on definitions to fully clarify the meaning of the language he employs and make his meaning more accessible. Authoritatively read by Martyn Swain for Ukemi Audiobooks, Psychological Types is an inexhaustible treasure chest of ideas and creative inspiration worth listening to time and time again. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 90-106 [Access article in PDF] Schopenhauer, Nietzsche, and the Aesthetically Sublime Bart Vandenabeele Much has been written on the relationship between Arthur Schopenhauer and Friedrich Nietzsche. Much remains to be said, however, concerning their respective theories of the sublime. First, I shall argue against the traditional, dialectical view of Schopenhauer's theory of the sublime that stresses the crucial role the sublime plays (...) in bridging the wide gap between aesthetics and ethics. Although this traditional interpretation is definitely influenced by Nietzsche, I do not maintain it is exclusively Nietzschean as such. Second, I would like to offer some points of contention concerning their accounts of the feeling of the sublime. I will try and show that, although Nietzsche's account of the Apollonian and the Dionysian is highly influenced by Schopenhauer's analysis of the sublime feeling, his analysis of Dionysian intoxication cannot be taken to simply develop out of Schopenhauer's philosophy. Moreover, by way of (a not so innocent) example, it is shown that Nietzsche's philosophy of music — although highly influenced by Schopenhauer's — cannot as easily be reconciled with Schopenhauer'stheory as is commonly believed, due to their differing accounts of the nature of the feeling of the sublime. Schopenhauer on the Feeling of the Sublime: Pleasure and Pain When one tries to describe the exact relationship between the aesthetic feelings of the beautiful and the sublime in the philosophy of "Nietzsche's educator," many interpretation problems arise. 2 The main problem can be compared to a similar issue in Kant: if one agrees with Kant that the theory of the sublime is "a mere appendix to our aesthetic judging," then it is possible to restrict the Kantian critique of the aesthetic appreciation to the Analytic of the judgment of taste 2 — that is, if one neglects the subtle displacements and gaps in Kant's text. In this way, as one can read in its introduction, the [End Page 90] Critique of Judgement serves as the sought-after "bridge" between the theoretical and the practical, spanning the gulf previously created between the knowledge of objects according to the conditions of possible experience and the realization of freedom under the unconditional of moral law. Moreover, if one notices that Schopenhauer too, in his aesthetics, stresses the fact that "in the main" the feeling of the sublime "is identical with the feeling of the beautiful" and "is distinguished from that of the beautiful only by the addition, namely the exaltation beyond the known hostile relation of the contemplated object to the will in general,then the option for a similar unifying and pacifying reading seems evident. 3 I shall argue that things are far more complicated and that such a "dialectical" interpretation is far from evident.In the appendix to his The World as Will and Representation, Schopenhauer had stressed — long before Jean-François Lyotard — the enormous importance of Kant's analysis of the sublime, when he wrote that "the theory of the sublime" is "by far the most excellent thing in the Critique of Aesthetic Judgment" (WWR, I, 532). That theory, Schopenhauer says, is even "incomparably more successful than that of the beautiful" and "gives not only, as that does, the general method of investigation, but also a part of the right way to it, so much so that, although it does not provide the real solution to the problem, it nevertheless touches on it very closely" (WWR, I, 532).According to Schopenhauer, the main difference between the sublime and the beautiful is that, while in the case of the latter, pure knowledge has gained the upper hand without a struggle...and not even a recollection of the will remains [with the sublime] that state of pure knowing is obtained first of all by a conscious and violent tearing away from the relations of the same object to the will which are recognized as unfavorable, by a free exaltation, accompanied by consciousness, beyond the will and the knowledge related to it (WWR, I, 202). The objects can be hostile to the human... (shrink)

There are two passages in which the poet introduces a full moon to accentuate a particular aspect of a scene in his narrative; 1.1228–33 and 4.166–71. I shall concentrate on the second. Commentators have contributed various suggestions but failed to understand the specific erotic-nuptial connotation of the full moon. The same applies to the more specialized contributions of Drogemiiller and Rose. I shall first present the evidence for the nuptial associations of the full moon, then apply this idea to the (...) Apollonian passages, especially 4.166–71, and finally add a remark about the special effect obtained by Apollonius here in relation to an Homeric passage. (shrink)

This article examines Schopenhauer’s influence on Nietzsche’s work. It considers how Nietzsche adopted some of his central ideas from Schopenhauer, how he exploited some of Schopenhauer’s positions to suit his own purposes, and how he developed some of his ideas as alternatives to Schopenhauerian positions. Nietzsche’s first published book, The Birth of Tragedy, is based on a Schopenhauerian metaphysical framework. Schopenhauer’s principle of individuation applicable to the world of representations is the key element in Nietzsche’s concept of the Apollonian (...) and Schopenhauer’s principle of the undifferentiated nature of ultimate reality of the will is the key element in Nietzsche’s concept of the Dionysian. (shrink)

This artic explores Nietzsche's concepts regarding the formation of art, as presented in "The Birth of Tragedy," investigating the duality between the Apollonian and Dionysian artistic impulses. The central focus lies in the aesthetic justification of existence through art, whether through the form provided by the Apollonian or through the duality between the Apollonian and Dionysian in tragic art, as a fundamental interplay of human experience. We will argue about the tension between universal unity and individuality, which (...) the philosopher presents as the core of the aesthetic effect of tragedy, contributing to the affirmation of life and the attainment of freedom. (shrink)

Mutual feedback between human-made environments and facets of thought throughout history has yielded two myths: the Garden and the Citadel. Both myths correspond to Jung’s feminine and masculine collective subconscious, as well as to Nietzsche’s premise of Apollonian and Dionysian impulses in art. Nietzsche’s premise suggests, furthermore, that the feminine myth of the Garden is time-bound whereas the masculine myth of the Citadel, or the Ideal City, constitutes a spatial deportment. Throughout history the two myths have continually molded the (...) built environment and thought, but the myth of the Ideal City – from Plato to Descartes to modernity – came to dominate city-form and ensuing aspects of contemplation. This relationship seems to have shifted during the twentieth century. Intellectual dispositions have begun to be largely nurtured by an incongruous city-form emerging from the gap between the incessant promise for an automated, well-functioning city, on the one hand, and looming alienation, coupled with the factual, malfunctioning city, on the other hand. Urban decay, a persisting and time-bound urban event that is a byproduct of this configuration, suggests the ascent of the Garden myth in post-modern city-form. (shrink)

The article undertakes a rereading of Nietzsche’s Birth of Tragedy with a focus on its two central achievements – reviving the Dionysus myth and making the origin of tragedy evident – whose mutual interrelatedness has attracted only sparse critical attention to date. Working more as a myth-maker than a theorist, Nietzsche advances a groundbreaking portrayal of the story of Dionysus that allows him to lay bare the origins of tragedy. Simultaneously, his identification of tragedy’s ultimate source suggests a configuration that (...) lends the Dionysus myth new currency. In so doing, Nietzsche conceives the manifest presence of this myth – as well as that of the origins of tragedy – as a specific recombination of the Dionysian and the Apollonian: not as an Apollonian taming or sublimation of the Dionysian, nor yet as dialectical mediation, but rather as the Apollonian’s seizure by the Dionysian, which teeters on the threshold between lurching toward and postponing a new, more comprehensively Dionysian loss of boundaries. In this way, Nietzsche suggests, there is generated a »Schauen und Sehnen über das Schauen hinaus,« a mode of viewing amplified by longing, through which the specific form of the Dionysus myth from the perspective of tragedy and conversely of tragedy from the perspective of myth becomes apparent. The fulfillment of Nietzsche’s vision in dramatic art is here exemplified by Hofmannsthal’s Elektra. (shrink)

In Nietzschean thought there is a permanent tension between culture and life; both move, many times, in contradictory directions. According to Nietzsche, culture always wins, because it has the Apollonian dimension on its part, that is, that defined, clear, refined way in which it is expressed, understands and transmits what is narrated. The beautiful form is just a way of appearing from the deeply transcendental; it is the tip of a gigantic iceberg called life. Nietzsche is a vitalist thinker, (...) committed to human expression, consisting of wanting, for love of oneself, the same thing that life wants, that is, directing its actions toward the suspension of judgments about the most convenient, most appropriate, politically correct, forms of cutural life. Childhood has an abundance of life pushing to get out--it is the Dionysian latency that does not want to succumb to the Apollonian commitment; it is life without a name, the force that devastates the encystment of form. It is life and childhood in tension, a childhood we think we know and at the same time a childhood that will never match those names we give it. Frequently the impulse for capture and closure mobilizes our adult interest, we approach childhood by naming and assigning roles, we are shaping the account we give of it. The impulse is converted into a pulse, a cadence, a recording, a ticking; Cronos appears, being acquires a permanent form, becoming gradually fades away. (shrink)

El objetivo de este artículo es explicar la interpretación política que Vico ofrece del precepto apolíneo “nosce te ipsum”. El artículo comienza con el problema del conocimiento de sí mismo en la primera Oración Inaugural y en el De Antiquissima. Luego, ese problema es puesto en relación con el origen de la autoconciencia en la Scienza nuova, con Solón y Esopo como universales fantásticos de la plebe y con el origen civil de la filosofía. La conclusión es que hay una (...) conexión entre el conocimiento de sí mismo, aconsejado por dicho precepto, y la reflexión filosófica que sostiene la base epistemológica de la ciencia viquiana.Palabras clave: Vico, autoconocimiento, autoconciencia, reflexión filosófica, política.The aim of this paper is to explain Vico’s political interpretation of the Apollonian prescription “nosce te ipsum”. The paper begins with the problem of the self-knowledge in the first Oration and in De Antiquissima. After that, this problem is related with the historical origin of self-consciousness in the Scienza nuova, with Solon and Aesop as imaginative universals of the plebs and with the civil origin of philosophy. The conclusion is that there is a connection between the self-knowledge advised for this prescription and the philosophical reflection that support the epistemological basis of Vico’s science.Keywords: self-knowledge, self-consciousness, philosophical reflection, politics. (shrink)

In response to Hegel’s thesis concerning the “end of art,” John Sallis suggests that the future or the “promise of art” may be opened in thinking through Heidegger’s essay “The Origin of the Work of Art.” Sallis proposes that this promise of art may lie in the capacity to “set forth various elements through transfigurement into shining.” In this paper I reflect on what this suggestion concerning the promise of art may mean. Furthermore, I propose that “The Origin of the (...) Work of Art” shows a resonance with Nietzsche’s Birth of Tragedy that Heidegger’s reading of Nietzsche obscures, and that this resonance is suggested in Sallis’ earlier work on Nietzsche’s book. I suggest that the Gestalt configuration of “world” and “earth” in Heidegger’s essay echoes the configuration of the Apollonian and Dionysian in Nietzsche’s thought. I further suggest in the conclusion that this resonance enables one to draw the connection between “The Origin of the Work of Art” and Heidegger’s later work in which the promise of art opens up a different mode of dwelling upon the earth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Montaigne Among the Moderns: Receptions of the “Essais”Patrick HenryMontaigne Among the Moderns: Receptions of the “Essais,” by Dudley M. Marchi; xiii & 334 pp. Providence, Rhode Island: Berghahn Books, 1994, $49.95.This ambitious project is not a study of the Essais per se, but rather an analysis of their receptions from the seventeenth century to the present. Written by a comparativist with access to German, French, and English literature (...) and philosophy, it deals with authors from diverse backgrounds and time periods and pays careful attention throughout both to intertextuality and to the particular “horizons-of-experience” in which the Essais were received. “Reception” here does not mean some un-Mont aigne-like passive acceptance, but rather the assimilation and reactivation of the essayist’s concept of literature, writerly project, and theories of reading and writing in the works of later writers, mainly “premodernists” (Emerson and Nietzsche), “high modernists” (Pater and Woolf), and “postmodernists” (Butor, Chaillou, Sollers). In the most general sense, what Montaigne shares with all these authors is the need to make central in the form and substance of his work the paradox of a rupture with the pa st and its simultaneous continuation. Here modernism is less a period concept than a recurring literary phenomenon whereby the essayist not only influences the moderns and the postmoderns but is one of them. This enables us, finally, to perceive in the Essais a dialogical process that resists closure and reenacts the literary and philosophical debates of our own historical situation.Chapter One schematizes the history of the receptions of the Essais in France from 1580 to 1950 focusing mainly on the stylistic and religious readings of major figures in French literature. While much of this has already been done, Marchi syn thesizes well, makes his own original points, and offers us exceedingly interesting pages on the essayist’s covenant daughter and most active literary executrix, Marie le Jars de Gournay. Throughout he depicts how the shifting nature of the Essais’ textuality (their “hermeneutic undecidability” [p. 74]) allows them to assume various identities in the minds of different interpreters through the ages, thus problematizing the very act of reception and granting the reader a role in the production of me aning.The next chapters constitute the most original parts of the study and analyze the reception of the Essais in the works of Emerson, Nietzsche, Pater, Woolf, Butor, Chaillou, and Sollers. In Emerson and Nietzsche, we find reactivated the Montaig nean dialogue between the unique self and cultural tradition. Emerson read the Essais in the Cotton translation and wrote about Montaigne in Representative Men but only relied on the essayist to help him reach his own intellectual independen ce, finally moving from a more ego-centered position to the security of past models and rejecting skepticism in favor of dialectical resolution. Nietzsche read Montaigne in the original and knew him through Emerson. Marchi finds “an active inter textual Montaignean dimension” (p. 124) [End Page 140] in Nietzsche’s work and underscores their mutual preoccupation with radical skepticism, self-cultivation, self-portraiture, mutability, the instability of language, and the crisis of representa tion. He discovers two sides to Nietzsche’s reception of the Essais: the Apollonian “Socrantic optimism” and the Dionysian “libertine transgression” (p. 165) and indicates how the essayist’s concreteness and acceptance of human limitations tempered respectively Nietzsche’s propensity toward abstract metaphysics and Schopenhaurean pessimism.The third chapter unveils the aesthetic and thematic elements of the Essais in the critical and creative works of Pater and Woolf who went beyond the philosophical essaying of Emerson and Nietzsche, were the first to extend aspects of the E ssais in narrative works since Marie de Gournay, and created Montaigne the modernist “by insisting on the qualities of his textuality most akin to their own” (p. 186). The most interesting pages here delineate, on the one hand, Pater’s failed attempt to reconcile the religion of Pascal and the aesthetics of Montaigne and the essayist’s presence in Pater’s Gaston de Latour and, on the other, Woolf’s Montaigne-like essayistic techniques of weighing probabilities, suspending dogmatic judgment, and breaking of narrative sequentiality and her concomitant assimilation... (shrink)

Populated by lesbian, gay, bisexual, trans*, queer (LGBTQ) and allied youth, school-based gay straight alliances (GSAs) offer a unique opportunity to re-imagine or redefine youth subjectivity, especially with regards to the intersections of sexual orientation, gender identity, and civic rights. Tracing the evolution of youth subjectivity from the emergence of Canadian schooling in the 1860s, I turn to Ontario’s Bill 13 as a recent example of how GSAs are subverting, or resisting these norms, and in so doing, operate as a (...) kind of counter-public. Drawing from Jenks’ (2005) archetypes of the Dionysian and Apollonian child, I assert that GSAs can embody a third type of child subjectivity, the Athenian child (Smith, 2011; 2014) and, in so doing, provide theoretical space to reconstitute subjectivity for all youth. (shrink)

I do not mean to suggest that Kroner's book is not in many places interesting and learned, nor that, in its original form of lectures, it had no value. But, apart from the exaggeration and distortion of the central thesis, the detailed treatment of historical points leaves one with little confidence and robs the work of what usefulness it might have had. Thus an unquestioning application of Nietzche's division of Greek thinkers into 'Dionysiac' and 'Apollonian' leads to remarks like (...) the following: "Aristotle has little in common with the Dionysian romanticism and universal dynamism of Heraclitus, and yet there is a kinship between them based upon becoming instead of being". What evidence we have for the Presocratic period is harshly treated. On p. 85 this is the 'more literal' of two versions of Anaximander's fragment and its introduction: "All things are going back through destruction, whence they had come through generation, according to what is due; for they suffer just punishment by repayment to each other the wrong in the succession of time"--but Anaximander did not, in fact, write nonsense like this. Even a simple sentence like Heraclitus fr. 113 is mistranslated as "Thinking is the same for all," where the Greek is ξυνόν and not τὸ αὐτό. Nor is Kroner incapable of rebuking others for mistakes of his own; thus on p. 110 he writes: "J. Burnet, e.g., waters down the words of Parmenides which literally rendered are: 'The same is to know and that on behalf of which thought is,' by letting Parmenides say: 'You cannot find thought without something that is as to which it is uttered.'" But Burnet was translating not the line translated by Kroner, but the following one, a line ignored by Kroner and one which seriously damages his interpretation of Parmenides. Then the Greek word ἰδέαι, used of Plato's Forms, is implied to connote ideas existing in the mind; Socrates is the most worth-while of Greek thinkers because in some respects he resembled Jesus Christ; he was not really an ethical thinker, though, and in any case Plato's Forms owed nothing to him--and so on. The best treatment is of Aristotle; and there are many short sections of acute discussion, as, for example, on the meaning of the second part of the Parmenides. But the mind may be spinning so wildly by the time it reaches them that it is incapable of recognizing them. Cambridge University. (shrink)

This article tries to unearth and evaluate the hermeneutic potential of Nietzsche’s understanding of Socrates, which is highly ambivalent. While Socrates is sometimes depicted as an optimistic rationalist, Nietzsche finally portrays him as a kind of universal pessimist who ultimately denounces life, especially in his last words on his deathbed. This nihilistic interpretation is subsequently criticized in this article (with special emphasis on a closer look at the evidence in Plato’s Phaidon and Symposion) and superseded by a picture which is (...) still indebted to some of Nietzsche’s basic categories: Socrates appears as a carefully balanced mixture of Apollonian and Dionysian elements, thereby reflecting Plato’s major achievement in combining philosophy and poetry in his Socratic dialogues. (shrink)

Star Trek is a successful popular cultural endeavor because it allows for exactly different kind of imaginative escapism, the possibility of joining in on an alternative narrative. In “The City on the Edge of Forever”, the Enterprise orbits a mysterious planet, where on its surface someone or something is causing temporal and spatial displacement. This chapter uses Romanticism as a philosophical gateway to the sublime experience that is the Guardian of Forever. The Guardian of Forever is the cause of the (...) spatial displacement and ripples in time that shake the Enterprise at the episode's beginning. Friedrich Nietzsche in his writings on Greek history, adopted the Romantic attitude toward the past by suggesting there are certain meaningful archetypes in the Greek past: in the context of “City on the Edge”, James T. Kirk represents the Tragic Hero, Spock the Apollonian figure, and McCoy the Dionysian figure. (shrink)

In this book, the historical dynamics of social policy, common welfare economics and the politics of social services of general interest, justified by personalist ethics, are understood as endogenous, dialectical mechanisms of the polarity between the principles of Apollonian order and Dionysian transgression; as a logical form of the philosophy of history on the ontological pathway to the concrete utopia of the truth of socially caring communities comprised of free people living according to their belief in reciprocal responsibility; and (...) as a system of solidarity based on love. (shrink)

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)

My intellectual journey to philosophy was paved by Plato’s Allegory of the Cave, which intrigued me as a high school student. Once on the path, however, I was frustrated by the inherent barriers to women’s participation both as originators and practitioners of philosophies. Excursions into Daoism and ancient goddess culture offered welcome alternatives. Gradually I realized the problem posed by the delusion of hierarchical dualism—whether male/female, mind/body, reason/emotion, human law and order/natural chaos, or Apollonian/Dionysian—that permeates the “Western Canon.” My (...) PhD dissertation set forth the denigrated perspective and values that had long been perceived as “feminine,” arguing that they were not gender-based but merely the road less traveled and seldom appreciated. More recently I have found validation for this alternative in neuroscience. Ongoing exploration of the bilateral brain has traced two attentional networks that mirror dualism in task-driven and stimulus-driven functions, both of which are required for optimal performance. This wholesome hybrid brain has been promoted by many world philosophies, and is perhaps most fully expressed in Buddhist nondualism. My goal is to promote these philosophies, beginning with a Minor in Global Philosophies, to secure the diversity, equity, and inclusion required to successfully address the many crises we face in the world today. (shrink)

In the middle part of his Brouillon Project on conics, Girard Desargues develops the theory of the traversale, a notion that generalizes the Apollonian diameter and allows to give a unified treatment of the three kinds of conics. We showed elsewhere that it leads Desargues to a complete theory of projective polarity for conics. The present article, which shall close our study of the Brouillon Project, is devoted to the last part of the text, in which Desargues puts his (...) theory of the traversal into practice by giving a very elegant tratment of the classical theory of parameters and foci. This will lead us to show that Desargues’ proofs can only be understood if one accepts that he reasons in a resolutely projective framework, completely assimilating elements at infinity to those at finite distance in his proofs. (shrink)

The thesis is that the Apollonian-Dionysian dialectic partially illuminates the dialectical relationship between the Will to Power and the Eternal Recurrence. The Apollonian-Dionysian synthesis restores the Will to Power, despite the necessities of the Eternal Recurrence, not because anything changes but because nothing can. One must succumb to the ecstasy of action, defying the paralysis of understanding while acknowledging its eternal power.

The present paper addresses the formal perspective of information with the focus on ‘untrue’ information presented as dangerous. Grounded in perspectivism, the epistemic subject is understood as decisive in informational transfer. In this context, ethics should focus on how the epistemic subject receives information. Regarding wide-spread information, the notions of danger and safety, the latter being a reaction to the former, essentially result from the fear mechanism of affective neural systems in higher mammals. The practice of attaining safety by eliminating (...) danger is analyzed through the Nietzschean metaphor of the Apollonian and the Dionysian and the concept of ressentiment. Focusing on the individual, the paper presents a critique of systemized authoritative management of speech content, intensified by the emergence of social media. It is asserted that, by reacting to danger through the systematization of prevention and regulation of speech, it not only affirms fear but also decreases the faculties of an individual to deal with danger and fear itself. The paper argues that the only way to overcome danger and fear is through the individual’s exposure to it, which allows for the strengthening of one’s faculties, thus fulfilling one’s potential in freedom. (shrink)

In The Birth of Tragedy, Nietzsche employs the dichotomy of Apollonian and Dionysian to explain artistic phenomena. The film Joker shows the origin story of the Joker, a comic-book supervillain. This paper offers a reading of Joker through Nietzsche’s ideas from The Birth of Tragedy. By doing so, it aims to achieve three things: first, to demonstrate the relevance of Nietzsche’s aesthetic theory in analyzing culture; second, to reveal the political dimension of Nietzsche’s thought in The Birth of Tragedy; (...) and third, to shed light on the ominous implications of Joker’s popularity. (shrink)

This lecture from 1946 presents Eugen Fink’s interpretation of Nietzsche’s metaphysics. Fink’s aim here is twofold: to work against the trend of psychologistic interpretations of Nietzsche’s work and to perform the philosophical interpretation of Nietzsche he finds lacking in his predecessors. Fink contends that play is the central intuition of Nietzsche’s philosophy, specifically in his rejection of Western metaphysics’ insistence on being and presence. Drawing instead from Heraclitus, Nietzsche argues for an ontology of becoming characterized by the Dionysian as the (...) temporalization of time and the Apollonian as temporalized in time. The play of becoming is thus the cosmic coming to be and passing away of appearance. Playing, as the creative projection of such a play-world of appearing and concealing, is central to understanding the Nietzschean theme of the will to power as the revaluation of values. (shrink)

This article explores the nuanced interaction early Nietzsche affords towards the thought and mission of the Christian priest in The Birth of Tragedy and its associated The Dionysiac Worldview. In terms of positive engagement, first, Nietzsche’s project of ‘justification’, central to these works, can be seen as pertaining to the project of the Christian priest, as Nietzsche understands him. Second, Nietzsche chooses to characterise and demonstrate his preferred ‘justifications’, the ‘Apollonian’ and ‘Dionysian’, by paralleling and borrowing from historical efforts (...) of theodicy formulated by the priest. Third, Nietzsche’s self-embraced project to revive a ‘Tragic’ culture, to ‘hallow’ the Dionysian, tracks the repeated historical role he attributes to the priest. Fourth, and here by way of critical engagement, Nietzsche’s analysis of the ‘Socratic’ justification, again paralleling elements from Christian theodicy, anticipates what will become Nietzsche’s mature, no longer nuanced, hostile stance towards the thought and function of the Christian priest figure. (shrink)

What is the status of the reduction in realistic phenomenology? Approaching this question presupposes understanding what realistic phenomenology is. Five ways of defining realistic phenomenology are delineated: 1) lineage definitions, 2) locality definitions, 3) thematic definitions, 4) definitions from the essence of philosophy, and 5) methodological definitions. The question of reduction’s status concerns mostly a combination of 4) and 5) but also draws on historical considerations. An overview of the realists’ critiques of the phenomenological reduction reveals that this method was (...) not unilaterally rejected and, thus, demonstrates that there is not only methodological epochism but indeed also methodological reductionism within realistic phenomenology. The common denominator of these critiques is that the reductive method in transcendental phenomenology depends on a phenomenological theory of reality. An indepth discussion of Scheler’s philosophical anthropology shows that it hinges on a principled revision and systematic completion of the reduction. Reduction is no longer viewed as a scientific method but as a technique of inner acting. From the vantage point of his voluntative realism, Scheler’s technological reductionism is spelled out in terms of a stratified scheme relating reality experiences as resistance to the levels of the vital-psychic sphere: 1) primary resistance, 2) ecologically bound resistance, 3) internalized resistance, 4) ego-dystonic resistance and 5) (dis-)inhibition and objectification of drive impulses. Drawing on Celms’s distinction between 1) reducendum, 2) reductive base, 3) reduction as an epistemic act, and 4) result of the reduction, a new and systematic interpretation of Schelerian reductions is developed for the scientific, phenomenological/Apollonian, Dionysian, and cathartic reductions. Each reductive technique cultivates man’s facultative dispositions (intellect, will, feeling). Only their concerted cooperation unlocks man’s full cognitive and ethical potential. (shrink)