In Euripides' Bacchae Dionysos visits Thebes in disguise to establish his mysteries there. And so, given normal Euripidean practice, it is almost certain that in the lost part of his final speech Dionysos actually prescribed the establishment of his mysteries in Thebes. In the same way the Homeric Hymn to Demeter tells how the goddess came in disguise to Eleusis and finally established her mysteries there. After coming to Eleusis she performs certain actions in the house of king Celeus, for (...) example the drinking of the κυκεν, which have long been recognized as corresponding to ritual undergone by the initiands in the Eleusinian mysteries. It is the main thesis of this paper that just as elements of the Homeric Hymn to Demeter seem to derive from a ερς λγος of the Eleusinian mysteries, so certain elements of the Bacchae derive from a ερς λγος of the mysteries of Dionysos, and that furthermore Euripides consciously alludes to the Dionysiac mysteries for a dramatic effect dependent on the religiosity of his audience, rather as Aeschylus alludes in the Oresteia, on the principle μαθοσιν αδ, to the mysteries of Eleusis. This case will suffer from two drawbacks. Firstly there is the general scepticism about ritual patterns in drama arising as a reaction to the excesses of, for example, Murray and Cornford. This means that a far greater degree of probability seems to be required from suggestions of this kind than from the more traditional mode of speculation of, say, textual criticism. And secondly, it must be immediately and frankly admitted both that we do not know much about the mysteries of Dionysos and that most of what we do know is from the Hellenistic and Roman period. In the argument that follows recourse will sometimes be had to two assumptions. The first is to suppose a degree of continuity between the Dionysiac mysteries of the classical and later periods. This assumption is based firstly on the observable continuity of the mysteries: for example the antiquity of the Eleusinian ritual described by Plutarch, which will form an important part of my argument, is attested by Aristophanes and Plato. And it is based secondly on general considerations: conservatism is of the essence of those rituals in which a community such as a thiasos perpetuates itself by the transmission of a ritual treasured as originally taught by their god. The second assumption is to suppose, on the basis of numerous observable similarities, an essential similarity between the Dionysiac mysteries and the Eleusinian, about which we are well informed even for the classical period. (shrink)

I. We know fairly well how the City Dionysia at Athens was celebrated in classical times. But although the numerous dramatic festivals of the Hellenistic period were in many respects modelled on the Athenian Dionysia, it is not clear how the performances at these festivals were organized. The difficulty arises from the fact that apart from a few great centres which may have had their own theatre production, playwrights, actors, etc., the majority of cities depended on the travelling of Dionysos’.1 (...) It seems that the of Dionysiac artists were formed early in the third century. Three major Dionysiac associations—the Athenian, the Isthmian and Nemean, and the Ionian and Hellespontian—operated in Greece, Asia Minor, and the islands in Hellenistic times. The question is how these associations functioned. Were they theatrical companies as well as professional guilds? Did they undertake the organization of musical and dramatic performances at various festivals? Was there a division of territories between the and were certain festivals dominated by certain guilds? (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)

The return of Hephaistos to Olympos, as a myth, concerns the establishment of a balance of power among the Olympian gods. Many visual representations of the myth in Archaic and Classical Greek art give visible form to the same theme, but they do so in a manner entirely distinct from the manner in which it is expressed in literary narratives of the tale. In this paper, I argue that vase-painters incorporated elements of Dionysiac processional ritual into representations of the (...) return of Hephaistos in order to articulate visually the principal theme of the myth. The vase-painters structured the myth along the lines of epiphanic processions in which Dionysos was escorted into the city of Athens. Like Dionysiac epiphanic processions, the procession of Hephaistos, Dionysos and the wine-god's followers is distinguished visually by drunkenness, ostentatious display of the phallus and obscene or insulting behaviour. To judge from the aetiological myths associated with them, the epiphanic processions symbolized the triumph of Dionysos over, and his belated acceptance by, those who denied his status as a god. By structuring the visual representations of the return of Hephaistos along the lines of such Dionysiac processions, artists conveyed visually the idea that the myth al so concerned the triumph of a god over those who rejected him, and his acceptance among the Olympians. It is not necessary to assume that the vase-painters relied on a detailed poetic account of the myth to create their representations of it, because they employed elements of religious spectacle, an inherently visual phenomenon, to convey the essence of the story. (shrink)

This book casts new light on the work of the German poet Friedrich Hölderlin (1770 - 1843), and his translations of Greek tragedy. It shows Hölderlin's poetry is unique within Western literature (and art) as it retrieves the socio-politics of a Dionysiac space-time and language to challenge the estrangement of humans from nature and one other. In this book, author Lucas Murrey presents a new picture of ancient Greece, noting that money emerged and rapidly developed there in the sixth (...) century B.C. This act of monetization brought with it a concept of tragedy: money-tyrants struggling against the forces of earth and community who succumb to individual isolation, blindness and death. As Murrey points out, Hölderlin (unconsciously) retrieves the battle between money, nature and community and creatively applies its lessons to our time. But Hölderlin's poetry not only adapts tragedy to question the unlimited "machine process" of "a clever race" of money-tyrants. It also draws attention to Greece's warnings about the mortal danger of the eyes in myth, cult and theatre. This monograph thus introduces an urgently needed vision not only of Hölderlin hymns, but also the relevance of disciplines as diverse as Literary Studies, Philosophy, Psychology (Psychoanalysis) as well as Religious and Visual (Media) Studies to our present predicament, where a dangerous visual culture, through its support of the unlimitedness of money, is harming our relation to nature and one another. "Here triumphs a temperament guided by ancient religion and that excavates, in Hölderlin's translations, the central god Dionysus of Greek tragedy." -Bernhard Böschenstein, author of "Frucht des Gewitters". Zu Hölderlins Dionysos als Gott der Revolution and Paul Celan: Der Meridian. Endfassung-Entwürfe-Materialien. "Lucas Murrey shares with his subject, Hölderlin, a vision of the Greeks as bringing something vitally important into our poor world, a vision of which few classical scholars are now capable." -Richard Seaford, author of Money and the Early Greek Mind. Homer, Tragedy, Philosophy and Dionysus. "Hölderlin deserved such a book." -Jean-François Kervégan, author of Que faire de Carl Schmitt? "...fascinating material..." -Noam Chomsky, author of Media Control: The Spectacular Achievements of Propaganda and Nuclear War and Environmental Catastrophe. (shrink)

Since its inception philosophical thought has been fixated by death. Death, as much as life, has been the unrelenting driving force behind some of history’s greatest thinkers. Yet, for Emil Cioran, a Romanian-French philosopher, even philosophy cannot attempt to understand nor contain the inevitable unknown. Considered to be an anti-philosopher, Cioran approached and reflected on the human experience with a despairing pessimism. His works are characterised by a brooding, fatalistic temperament that reveals and defines itself in his irony, black humour (...) and inimitable style. Although Cioran’s later works have received much scholarly recognition, little attention has been paid to the texts he wrote in his adolescent. Grounded in the historical context of interwar Romania, this book presents for the first time an analysis of the little-known works of this pioneering Romanian thinker. Deeply affected by his upbringing, this book offers a glimpse into Cioran’s first attempts to delve into philosophical enterprise, before turning its attention to his later works, On the Heights of Despair (1934), The Transfiguration of Romania (1936) and Twilight of thoughts (1940; written in France). Using both the French and Romanian editions of these works, but also their original manuscripts, this volume seeks to provide a re-reading that takes language rather than a social or political critique as its focal point. As an important and provocative contribution to the existing literature on Cioran, this book will be an essential point of reference for students and researchers, alike. (shrink)

It has recently and rightly been observed that Plutarch is exceptional as a prose author in the finesse with which he employs tragedy in his Lives. And, one might add, in the extent to which he does so. His dislike for the sensationalism of ‘tragic history’ was no obstacle to his use of ‘the sustained tragic patterning and imagery which is a perfectly respectable feature of both biography and history’. The primary purpose of the present discussion is to draw attention (...) to the profound importance of tragedy, particularly of Euripides' Bacchae, to the Carrhae narrative in Plutarch's Crassus. It is argued that details in Crassus'; version of Carrhae recall the tragedy of Pentheus and, in so doing, substantially advance the portrayal of Crassus' character. (shrink)

This paper investigates Philomela's metamorphosis into a swallow as inferred from Sophocles’ fragmentary Tereus. The first part focusses on the association between the swallow and barbaric language, casting new light on Philomela's characterization in the play. The second investigates the shuttle, the weaving tool which prompts the recognition of Philomela, arguing that the mention of its ‘voice’ in fr. 595 Radt refers not only to the tapestry which it created, but also to the actual sound of the shuttle, which ancient (...) Greeks associated with the swallow, and thus anticipates Philomela's metamorphosis. The representation of Philomela as a speech-impeded and yet vocal character supports the Dionysiac background of the act of vengeance which she and her sister commit. (shrink)

There is no little division of opinion regarding the provenance of the Bacchanalian rites which were suppressed with much cruelty by the Senate in 186 B.C. Since the Dionysiac orgies were native to Phrygia, and since Livy tells the story in question immediately after describing the immoral practices that were brought back from Asia by the returning army of Manlius Vulso in 187, it has frequently been assumed that Anatolia was the source of these rites. Reitzenstein and Cichorius, in (...) discussing a recently-found decree of Ptolemy IV. regarding an inquisition into Dionysiac rites in Egypt, both assume that the Roman cult had come from the Orient. Carcopino, in a recent discussion of the ‘Underground Basilica’ at Rome, suggests that the objectionable element of the cult was the Pythagorean club, which might become a political menace. Other scholars, remembering Livy's statement that one of the priests of the cult had operated in Etruria before coming to Rome, have tried to find traces of Dionysiac rites on Etruscan monuments. (shrink)

From the 1920s to the 1960s, Martin Heidegger on several occasions referred to the early Greeks’ encounter with what he called ‘the Asiatic’ (_das Asiatische_). Meanwhile, he was also concerned with a sort of ontological power of destruction and ruination that according to him should be understood in the Greek sense, which he also called _das Asiatische_. In this article, I first sketch the contributions made by Asian/African traditions to the origin of Greek philosophy and highlight Heidegger’s own recognition of (...) it in the 1920s. Second, I examine Nietzsche’s remarks bearing on the early Greeks’ intricate bond with the Asiatic, which is formulated in terms of a distinction between the ‘Dionysiac Greeks’ and the ‘Dionysiac barbarians.’ Third, I scrutinize Heidegger’s relevant statements—especially those in the 1930s—in the light of Nietzsche’s influence on him. I argue that two different meanings of the Asiatic are at play in Heidegger’s thought: One is the _Greek Asiatic_, the Being-historical Asiatic; The other is the _alien Asiatic_, ‘the most foreign and most difficult’ Asiatic, which has been overcome by the Greeks. Fourth, I show that in the 1960s Heidegger seems to consider a sort of conflation of these two meanings—a conflation that remains fraught with tension. (shrink)

This article reconsiders the historical and typological relation between Greek maturation rituals and Greek mystery religion. Particular attention is given to the word κλεινός (‘illustrious’) and its ritual uses in two roughly contemporary Late Classical sources: an Orphic-Bacchic funerary gold leaf from Hipponion in Magna Graecia and Ephorus’ account of a Cretan pederastic age-transition rite. In both contexts, κλεινός marks an elevated status conferred by initiation. (This usage finds antecedents in Alcman'sPartheneia.) Without positing direct development between puberty rites and mysteries, (...) the article argues on the basis of shared vocabulary and other ritual elements that age-transitions influenced the ideology of mystery cults. It is further claimed that puberty rites and mysteries performed similar functions in their respective social contexts, despite obvious differences of prestige and visibility. Age-transition rites have been analysed in Bourdieu's terms as ‘rites of institution’, in which young elites were publicly affirmed in civic roles: private mysteries can be described in analogous but opposed terms as rites of ‘counter-institution’, in which familiar ritual language and symbols of elite status were used to construct an alternative ‘imagined community’ of mystery initiates. (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)

The Birth of Tragedy is one of the seminal philosophical works of the modern period. Nietzsche's discussion of the nature of culture, of the conditions under which it can flourish and of those under which it will decline, his analysis of the sources of discontent with the modern world, his criticism of rationalism and of traditional morality, his aesthetic theories and his conception of the 'Dionysiac' have had a profound influence on the philosophy, literature, music, and politics of the (...) twentieth century. This edition presents a new translation by Ronald Speirs and an introduction by Raymond Geuss that sets the work in its historical and philosophical context. The volume also includes two essays on related topics that Nietzsche wrote during the same period, and that throw further light on the themes treated in the main text. (shrink)

The ontological paradigms of Schelling and the late Merleau-Ponty bear striking resemblances to Spinoza’s ontology. Both were developed in response to transcendental models of a Cartesian mold, resisting tendencies to exalt the human ego to the neglect or the detriment of the more-than-human world. As such, thinkers with environmental concerns have sought to derive favorable ethical prescriptions on their basis. We begin by discerning a deadlock between two such thinkers: Ted Toadvine and Sean McGrath. With ecological responsibility in mind, both (...) actually resist Spinozist reduction of the human being to the status of a mere mode among modes. But despite having the same general aim, they end up endorsing contrary practical conclusions. Our objective is to pinpoint the reasons behind this deadlock, indicative of two strands of post-Spinozist environmental thought which stand in tension, and to begin to propose an integrative way forward. The ethical weight afforded by Toadvine to the notion of resistance in the work of the late Merleau-Ponty, namely nature’s resistance to harmonizing, unifying pretensions, invites inquiry into two Merleau-Pontean notions he does not address: the barbarian principle, and the proposal to “Do a Psychoanalysis of Nature.” We trace these to their origins in the works of Schelling’s middle period, arguing that the Schellingian location of resistance in Spirit’s dark ground—alternately conceived as primordial Dionysiac madness, bottled-up within the substratum of consciousness—lends to an understanding of the human, and human responsibility, that harbors favorable implications for environmental ethics. (shrink)

In Plato's dialogues, we find many references to Corybantic rites-rites of initiation performed in honor of the goddess Rhea. But in the dialogue titled Euthydemus, there is more than a mere reference to the rites to be found. Within the context of Socratic dialectic, the ancient rites of the Corybantes are acted out-although veiled and distorted. This is what Carl Levenson argues in his book. Since the Corybantic rites are of the Dionysian/Eleusinian type, Plato gives us a glimpse of the (...) reality of Dionysiac ecstacy. This interesting knowledge of these rites has usually been lost in the academic assertion that the Euthydemus was just a satire on philosophic arguing (in which it is), and hence it has been consigned to a marginal place in Plato's canon. But here Plato is rejecting his abstract theories in favor of intimacy with the reality of the world, of matter and being rather than form. Levenson states that complete immersion in the material substrate of the world is what Plato discovered at the heart of Dionysian ecstacy, and the aim of ecstacy, as Plato said, is to purify the soul of ancient guilt. (shrink)

"Lenaia vases" is the traditional title given to a group of some seventy fifth-century Attic vases, black- and red-figure. These vases have in common that they show a cult-image of Dionysos, consisting of a mask or masks on a column, in combination with the conventional Attic imagery of the revelling ecstatic female worshippers usually called "maenads." The vases are important and their meaning much debated because they seem to hold out the promise of providing otherwise unavailable information about historical bacchic (...) religion. There is no consensus on the character of the historical information of these scenes. In an older view the imagery records the appearance of enacted ritual; in a newer view, the imagery "discusses," in a fashion analogous to language, concepts about Dionysiac religion. This paper proposes a reinterpretation of a coherent subset of the "Lenaia vases," based on a linguistic reading of the imagery. This subset consists of twenty-eight red-figure stamnoi, a group that has traditionally been the focus of studies of the "Lenaia vases." I analyze the vases as describing, in conventional visual terms of reference, a rite of theoxenia celebrated by ecstatic female worshippers. The imagery says that these worshippers perform a thysia, offer Dionysos a banquet of meat and wine, and celebrate a symposion and komos. It also comments on the practice of such rituals by women, saying that they derive honor from these actions. These rituals find parallels in historical evidence for Dionysiac theoxenia and banquets; the scenes thus may provide additional evidence that Dionysiac celebrations took this form. The scenes, however, are not about the historical enactment of such rituals, and still less a visual record of such enactments. Rather, their message, conveyed by the interweaving of mythical and social references, is that for the worshipper of Dionysos the worlds of myth and of the polis are one. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Making Mockery: The Poetics of Ancient SatireCedric LittlewoodRalph M. Rosen. Making Mockery: The Poetics of Ancient Satire. Classical Culture and Society. Oxford: Oxford University Press, 2007. xiii + 294 pp. 4 black-and-white figs. Cloth, $55.This book ranges from pre-literary myths and rituals of abuse to the verse satire of Juvenal in pursuit of a poetics of mockery largely abstracted from the historical contexts of its production. We set (...) the various poetic modes of Greco-Roman mockery more successfully in their historical contexts, Rosen argues, with a synchronic appreciation of the literary phenomenon we recognize broadly as satire. The Roman practitioners of this famously home-grown genre themselves demand that we broaden our horizons: Persius, for example, prefaces his satires with fourteen lines of choliambics, while Horace (mis)represents his satiric predecessor Lucilius as deriving entirely from Old Comedy (Satires 1.4.1–7). Rosen’s study is bounded by the limits of poetry: Lucian’s comic sketches have no place in this book because they lack the “otherness” of poetic speech to demarcate them from the rhetoric of the everyday. This is a distinction with which I think one may valuably take issue—the prose of Petronius’ Satyricon hardly lacks markers of its own fictionality—but it is an important one for Rosen (see below on Callimachus, Iambus 1). Drama provides the fundamental model for the satiric posture: the poet, whether or not he plays a role himself in his comedy, stages a performance of mockery for an audience. Poetic mockery is a ritual act, and the chorus of Aristophanes’ Frogs (368–76) could draw an analogy between the abuse performed in one Dionysiac ceremony (the initiates’ procession to Eleusis) and in another (comic drama). How exactly comic mockery may have evolved from religious ritual is neither Aristophanes’ nor Rosen’s concern: their aim is to invoke the ritual of religious practice as a model for the conventions of art.Comic mockery is an ugly and potentially dangerous art. For his first case study, Rosen discusses the myth of Iambe, etymological kin to the iambus of poetic invective. In the Homeric Hymn to Demeter, Iambe interrupts the grief of her mistress with jests ( 1, 202). Demeter laughs and ends her grieving fast. Rosen argues that Iambe’s comic interlude was abuse directed against the goddess who, with her laughing response, recognized the performance of mockery as something different from an act of hostility. Whether Demeter was the target of abuse or simply the audience of a breach of decorum is hard to determine from the text, but N. J. Richardson (The Homeric Hymn to Demeter [Oxford: Oxford University Press, 1974], 215) usefully records the parallel Alexandrian myth of Ascalabus, whom Demeter turned into a gecko because he laughed at her in the same circumstances. The fate of the obscenely joking Cercopes who are released [End Page 433] by a laughing Hercules rather than killed in anger provides another model not just for the restorative power of laughter but for the appropriate reaction to comic mockery. What, then, are we to make of Homer’s Thersites? Gregory Nagy argued (The Best of the Achaeans: Concepts of the Hero in Archaic Greek Poetry [Baltimore: Johns Hopkins University Press, 1979], 260–62) that the base and ugly Thersites personifies the poetry of blame. His depiction and his fate show this genre’s inferiority to the epic poetry of praise. For Rosen, although many poetic characters engage in the practice of blame, “there can only be one playing the role of blame poet... and the criterion for identifying him as such is the level of “righteousness” he can persuade an audience he has on his side” (76). This, in my view, is a very difficult argument to sustain. Rosen acknowledges that an inscribed audience (here the Achaeans) does not offer a secure guide to the righteousness of the speaker, that the high moral stance of a poetic mocker is typically compromised by irony and by comedy, and that the terminology of mocker and mocked is “labile and unstable” (116). Nevertheless, a satirist whose righteousness is only intermittently convincing (as is often the case) is to be seen... (shrink)

Between 1069, the year of his arrival at St. Martin in Mainz, where he spent the rest of his life in voluntary enclosure in a cell, and his death in 1082, the Irish monk Marianus Scottus dedicated countless hours to assembling the most sophisticated and comprehensive work on historical chronology that had ever been produced by a Latin writer up to that time. The fruits of his labors became a massive world chronicle, completed in 1076, whose most famous innovation consisted (...) in a far-reaching correction to the Christian, or “common,” era, which had been introduced by Dionysius Exiguus in the sixth century. Having compared the data of the Easter computus with the chronological parameters traditionally associated with the passion of Christ—the fifteenth day of the moon on Friday, 25 March—Marianus found that the only year in which the numbers could be made to fit was AD 12 rather than the traditionally accepted AD 34. As a result, he decided to predate the life of Jesus by twenty-two years, assigning his birth to the year corresponding to 22 BC. This gave rise to a new “corrected” era , which he used alongside its Dionysiac equivalent. (shrink)

This communication wants to deal with the relations between the Philosophy of Plato and the cult of Dionysus in Ancient Greece. This makes necessary to distinguish the cult of Dionysus with its feasts and secret rituals, especially the maenadic rites of women, from orphism. The Maenads practiced rites closely associated with mania and those rites included bloody sacrifice (sparagmos) and the consommation of raw flesh (omophagy). As we assumed in our book“Dionysos em transe: la voix des femmes”, this cult was (...) an iniciatic feminine rite, connected to biological transformations particular to women, as pregnance and birth. At the other side, orphism is an asceptic and vegetarian sect, which clearly influenced some platonic theories, as exposed in Cratyle or Gorgias, concerning “the body as the tomb of the soul”. What we want to show here is the dionysiac character of some other theories, as those about the mania in Phaedrus or even the so called “platonic theory of Love” in the Symposium. We are dealing than with the definition of Philosophy itself in platonic dialogs: is Philosophy a study about death as orphic influence demands or is it a work of birth, as dionysiac influence suggests? (shrink)

This article makes visible some of the premises that underlie Rosi Braidotti’s use of (political) myth. Focusing on some well-known characteristics of postmodernity, as well as the development of a new philosophy of subjectivity, I account for the divergence between Simone de Beauvoir, who thought of myth as a severe hindrance to the subject-becoming of women, and postmodern feminists, such as Donna Haraway and Braidotti, who represent a more affirmative stance. Through pinning down both similarities and differences between Haraway and (...) Braidotti, I demonstrate that postmodern feminists might still promote mythmaking for dissimilar reasons. I argue that Braidotti, in contrast to Haraway, approaches myth from a horizon partly shaped by an anti-rationalist or ‘demonic’ philosophical tradition, whose chief representative is Friedrich Nietzsche. By studying the argument delivered by the latter in defence of myth, I extract a conceptual distinction between the ‘Apolline’ and the ‘Dionysiac’ aspects of mythmaking, by which it becomes possible to further qualify Braidotti’s philosophy of political myth. (shrink)

In chapter 12 ofBirth of Tragedy, Nietzsche describes Socrates as the new Orpheus, who rises up against Dionysus and murders tragedy:… in league with Socrates, Euripides dared to be the herald of a new kind of artistic creation. If this caused the older tragedy to perish, then aesthetic Socratism is the murderous principle; but in so far as the fight was directed against the Dionysiac nature of the older art, we may identify Socrates as the opponent of Dionysos, the (...) new Orpheus who rises up against Dionysos and who, although fated to be torn apart by the maenads of the Athenian court of justice, nevertheless forces the great and mighty god himself to flee. As before, when he fled from Lycurgus, King of the Edonians, Dionysos now sought refuge in the depths of the sea, namely in the mystical waters of a secret cult which gradually spread across the entire world., 64. (shrink)

The article proposes that the literature configures spaces where the thought of the outside emerges: a way of thinking that opposes the notions of interiority, common sense and good sense. For this, the categories of transgression, decentralization and absorption of meanings are reviewed, a triad that emerges from the philosophies of Foucault, Deleuze and Baudrillard. It is concluded that evil is articulated as a principle of uncertainty and the notion of literature that is presented alludes to the production of a (...) laboratory where that cursed metaphysics is installed. It is about the deployment of the Dionysiac machine to make sense within the context of the loss of reference and of the breach of the plausibility pact. (shrink)

SUMARIO Artículos ¿Por qué democracia? Referencia a los derechos humanos y a la ciudadanía. Why democracy? Reference to human rights and citizenship. Bozo de Carmona, Ana Julia Libertad de expresión y "libertad cómica". Free speech and "comical liberty".Calvo González, José La justicia según J. Finnis. Justice according to John Finnis. Hocevar G., Mayda G. El lenguaje sagrado y su escritura. The sacred language and its writing. Lizaola, Julieta Del carácter coactivo de la μετηνεστασζ en Tucídides. On cornening to compelling nature (...) of Thucydides' μετηνεστασζ. Meabe, Joaquín E. Apuntes para una filosofía crítica de la historia regional. Notes for a critical philosophy concern to the regional history. Mora García, José Pascual Competencia política partidista en los textos de Simón Bolívar . The defender political competition in the Simon Bolivar’s writings . Ortiz Palanques, Marco Fundamentación socio-jurídica de los procesos normativos. Social and juridical reasoning about the normatives changes. Pavó Acosta, Rolando Filosofía y psicopatología en Karl Jaspers: los entramados de la existencia. Philosophy and psychopathology in Karl Jaspers: the studworks of the existence. Portuondo Pajón, Gladys L. La doctrina platónica del alma en la «república». The platonic doctrine of the soul in the «republic» dialogue. Suzzarini, Andrés Una aproximación a la concepción romana del derecho. An estimate study to the roman concept of law. Terán Pimentel, Milagros Interdisciplinares Lo dionisíaco y lo apolíneo en Don Juan Tenorio. The dionysiac and the apolline in Don Juan Tenorio. Pérez Lo Presti, Alirio. (shrink)

Over the years, research in the field of narratological studies has converged towards a unitary vision of narrativity, which is based on a shared interpretation of Aristotle's Poetics. The object of this article is to describe the main characteristics of an alternative model of narrativity, which I propose to call “Nietzschean narratology”. In particular, I emphasize the role that the notion of melancholy plays within the model of aesthetic experience of The Birth of Tragedy. I wish to show that, in (...) this work, Nietzsche criticizes the artificiality of the Aristotelian catharsis, by opposing to it the naturalness of the “Dionysiac melancholy” which, according to him, vivifies the Attic drama. (shrink)

This article aims to provide a minimal interpretation of the theme of aesthetic justification of life in Birth of Tragedy without relying on any substantial metaphysical claim about reality, presenting it rather as a practical and naturalistic response that is valuable and feasible regardless of one’s acceptance of Nietzsche’s metaphysical position, if he has any. According to this interpretation, the aesthetic justification of the Apolline and the Dionysiac metaphysical solace are originally instinctual remedies nature provides to address our naturally (...) aroused metaphysical need. The Apolline seeks to cultivate acceptance of suffering, liberating individuals from the burden of attempting to alter their human condition fundamentally. The Dionysiac treatment turns to metaphysical solace in the face of death, seeking to make the human encounter with death bearable by fostering a sense of unity with a higher whole or community and reconnecting individuals with nature and their animality. (shrink)

"The English version of _Dissemination_ [is] an able translation by Barbara Johnson.... Derrida's central contention is that language is haunted by dispersal, absence, loss, the risk of unmeaning, a risk which is starkly embodied in all writing. The distinction between philosophy and literature therefore becomes of secondary importance. Philosophy vainly attempts to control the irrecoverable dissemination of its own meaning, it strives—against the grain of language—to offer a sober revelation of truth. Literature—on the other hand—flaunts its own meretriciousness, abandons itself (...) to the Dionysiac play of language. In _Dissemination_—more than any previous work—Derrida joins in the revelry, weaving a complex pattern of puns, verbal echoes and allusions, intended to 'deconstruct' both the pretension of criticism to tell the truth about literature, and the pretension of philosophy to the literature of truth."—Peter Dews, _New Statesman_. (shrink)

Dans La naissance de la tragédie, Nietzsche semble reprendre à son compte la conception schillérienne du choeur tragique. L'apport du dionysiaque en modifie pourtant le sens en soustrayant celui-ci à la problématique esthético-morale pour développer une esthétique qui motive « physiologiquement » l'acquiescement à la vie d'une collectivité exaltée par Dionysos et transfiguré par Apollon. « The chorus as a living wall ». Physiology and tragedy in The birth of tragedy, Nietzsche seems to make as his own motto the Schillerian (...) conception of the tragic chorus. The contribution of the dionysiac however changes its meaning by shirking the latter to the aesthetico-moral problematics in order to develop an aesthetics « physiologically » motivating the assent to the life of a community as exalted by Dionysos and transfigured by Apollo. (shrink)

O presente artigo pretende abordar o conceito de trágico, entendido como elemento principal ou elemento orquestrador do projecto nietzschiano em busca de uma determinação para uma nova forma de existência estética. Objectivo do autor é, pois, em primeiro lugar, explicitar o sentido da nova existência estética tal como Nietzsche, pela mão de Zaratustra, imputa à figura do Übermensch, o qual estabelece um projecto de justificação estética; em segundo lugar, trata-se de mostrar que o conceito de 'trágico'está estreitamente relacionado com o (...) conceito metafísico de 'eterno retorno'de tal modo que isso pretende, por um lado, ultrapassar a dimensão determinada da vida humana em algo maior ou melhor, e, por outro, visa a completa realização da vida humana que pode ser repetida, salientando que este movimento de repetição afirma o retorno dionisíaco do trágico. Objectivo do autor do artigo é, assim, provar que o projecto nietzschiano anuncia o Übermensch como uma nova forma de existência estética, ao mesmo tempo que recupera os conceitos de 'trágico' e 'dionisíaco', conceitos estes que animam a obra Die Geburt der Tragödie. Consequentemente, trata-se de ver até que ponto o Übermensch está afirmado como objectivo necessário e primário neste projecto, o qual permanece, contudo, uma herança enigmática em que nos deixa a filosofia de Nietzsche. /// The present article presents a brief approach to the concept of the 'tragic' understood as a main element or a conducting element in the Nietzschean project that searches for a determination of a new form of aesthetic existence. The author aims, thus, at two things: first, to explicit the meaning of this new aesthetic existence that Nietzsche, by the hand of Zarathustra, imputes to the figure of the Übermensch, which establishes a project of aesthetic justification; secondly, to show that the concept of the 'tragic' is closely related to the metaphysical concept of the 'eternal return' in such a way that it purposes, on the one hand, to surpass a determined dimension of human life into something bigger or better, and, on the other, to bring about a complete realisation of human life that can be repeated, so that the movement of repetition qffirms the dionysiac return of the tragic. The goal of the article is, moreover, to prove that the Nietzschean project announces the Übermensch as a new form of aesthetic existence while recovering the main concepts of 'tragic' and 'dionysiac', concepts that animate the book Die Geburt der Tragödie. Therefore, we shall see how the Ubermensch is placed as a necessary and prime objective in this project, which remains part of the enigmatic legacy with which Nietzsche's philosophy leaves us. (shrink)

In the fifth stasimon of Antigone the chorus observes that "the whole city is subject to a violent sickness" and invokes Dionysos to "come with kathartic foot." It is generally assumed that the katharsis the chorus has in mind is purification of Thebes from a plague or pollution arising from the unburied corpse of Polyneikes; katharsis of this sort is however unattested as a function of Dionysos. It is argued that this is rather the earliest explicit attestation of the kathartic (...) effect of ecstatic Dionysiac dancing upon nosos as mental disorder, the chorus equating the mental nosos of Kreon, Antigone and Haimon with the nosos of civil strife affecting Thebes. A large number of passages indicate that mention of feet in cultic and especially Dionysiac contexts almost invariably refers to dancing, which is a dominant motif of the fifth stasimon both in its content as hymn to Dionysos and formally as a hyporcheme. Evidence from the fifth century and from Plato for the connection of Dionysos with kathartic dancing as a cure for mental disorder is stronger than previous discussions maintain. It is suggested that Sophokles elides two senses of nosos-mental disorder and civil strife-and that the chorus are invoking Dionysos to relieve them of the stress of these, rather than of a general plague or pollution. Whereas mental disorders and civil strife are constant themes of the play, the corpse as pollutant affects only altars-nothing like a "violent plague" is attested in the text. This reinterpretation of the ode suggests that it relates rather to the tragic conflict still to be played out among the principal characters than to the corpse, which is shortly buried with invocation of Hekate and Plouton rather than Dionysos. (shrink)

The author’s thesis is that the Platonism which has had most influence on religious thought represents a Plato dimidiatus. “There are important aspects of Plato’s philosophy which have not been and yet could be applied in an important way to religion…”. In philosophy Plato is not only the objective idealist for whom the ideas alone have true existence. He is also the metaphysical realist for whom the sensible is no less objectively real than the intelligible. In religion he is not (...) only the heir of Orphic and Dionysiac enthusiasm, with its transcendental emphasis and its infinite intent. He is also the inheritor of the traditional Greek Olympic and Chthonic gods, with their regard for the natural and the significance of the finite. Aristotle alone preserved this second strand in Plato’s thought. Philo, the founder of Neoplatonism, and his successor Plotinus successively depressed his naturalism in favour of an exaggerated emphasis on the supernatural. It is the second alone which has since passed as Platonism. Even the 13th century discovery of Aristotle was the discovery of a Neoplatonically interpreted Aristotle. (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)

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)

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)

Against a background of anxious evocation of Dionysiac rites, Euripides'Heraclesstages the extreme degradation of the tragic hero who, as a consequence of the hatred of a divinity, loses his heroic traits and above all his human ones in the exercise of brutal violence. By comparing Heracles in the grip of madness to a furious bull assailing its prey, the tragedian clearly shows the inexorability of the divine will and its arbitrariness, and emphasizes madness itself through images traditionally associated with (...) the bull. However, the reference to monstrosity and animals does not only involve Heracles, but also concerns the representation of Lyssa, the demon of madness sent by Hera to induce Heracles to slaughter his own family. This representation of Lyssa includes the monstrous and disturbing Gorgon and the dog, set alongside the metaphor of hunting, which in turn highlight the link between the demon and the Erinyes, those other bringers of madness. (shrink)

New commentary on Hadrian’s second letter to Dionysiac artists. A thorough study of the text structure and vocabulary reveals that the emperor has not always altered the schedule of Greek games. His main concern is to insert the competitions he himself has created and to avoid conflicts between the cities. He certainly didn’t offend the susceptibilities of the Greeks, but he probably also resisted numerous requests. He has favoured considerably Athens. The understanding of the end of the text can (...) be improved. The dates provided by Hadrian in the solar Julian calendar must be reinterpreted in light of a lunar calendar. (shrink)

In an earlier study of the utilisation of the materials in the mosaics of Delos we were able to show the variety and brilliance of colour obtained by using tessera of glass and faïence and painting over some of them. The cleaning of the large mosaic in the House of the Jewels now allows us to complete these observations. For a better understanding of how colour was used in the Hellenistic mosaics of pictorial style, it will be helpful to extend (...) this work of analysis and restoration to other mosaic floors belonging to the same stylistic trend: two Delian mosaics with Dionysiac themes and two Hellenistic mosaics in Egypt (the one signed by Sophilos and a copy of it discovered at Thmuis). Our perception of the colours of these mosaics is in fact considerably falsifîed by the altération of the materials. The result of the restoration of the original colours has been to reestablish these mosaics within the technical and stylistic context of hellenistic mosaics and painting. (shrink)

En dépit des différences de forme et de style, la phénoménologie de Husserl et la philosophie dionysiaque de Nietzsche relèvent d’un même projet fondamental. À l’époque de l’accomplissement de la téléologie occidentale, Nietzsche et Husserl portent en effet le même constat de faillite sur la rationalité européenne et engagent un même travail généalogique qui identifie l’origine de cette catastrophe dans le manquement inaugural de la vie par la fondation grecque de la rationalité. Le projet philosophique consiste alors tout entier en (...) une refondation du sens sur son origine perdue, et prend la forme d’une ontologie de la vie. L’inachèvement de l’œuvre chez l’un et chez l’autre doit cependant remettre en question cette voie. Mais il faut alors constater que Nietzsche lui-même renonce à l’élaboration d’une ontologie et, en s’émancipant de la norme même du savoir, donne comme tâche à la pensée de l’avenir celle d’une incarnation de la vérité.In spite of the differences in form and style, Husserl’s phenomenology and Nietzsche’s Dionysiac philosophy stem from a similar fundamental project. Indeed, at the time of the fulfillment of Western teleology, Nietzsche and Husserl both acknowledge the failure of European rationality and start some similar genealogical work which traces the origin of the catastrophe to the responsibility of the Greek foundation of rationality for missing life originally. Their philosophical project consists in restoring meaning from its lost origin, and it takes the form of an ontology of life. As the work of both philosophers was left unfinished, such a direction should then be questioned. However, Nietzsche himself gives up elaborating an ontology and, departing from the ideal of knowledge, he gives future philosophy a new task : incarnating truth. (shrink)

L'ambivalence du rapport de Nietzsche à Épicure s'établit sur fond de paradoxe : l'eudémonisme moral d'Épicure surdétermine ce qui, à l'origine de son geste philosophique, apparaît pourtant comme une résistance au platonisme ou à l'ascétisme chrétien. En réalité, Épicure est un décadent socratique, un « malade de la vie », et sa pensée manque la radicolite dionysiaque ; c'est pour cette raison qu'elle irrigue encore le christianisme — preuve d'une compatibilité fâcheuse. Mais Nietzsche demeure néanmoins attentif à la fécondité des (...) chemins épicuriens : l'indifférence des dieux, le sentiment de gratitude pour les choses, le rêve du jardin comme architecture de l'amitié. The ambivalence of Nietzsche's relationship towards Epicure sets itself against a background of paradox : Epicure's moral eudemonism overdetermines what, at the root of his philosophical gesture, yet seems to appear as a resistance against platonism or Christian asceticism. In fact, Epicure is a Socratic decadent, a « life's sick man » and his thought is devoid of any dionysiac radicality : it is the very reason for its still irrigating Christianism, hence, the evidence of a most unfortunate compatibility. But Nietzsche, however, still remains careful with the fruitfulness of Epicurean paths : e.g. the lack of concern of the Gods, the feeling of gratitude towards things, the dream of the garden as an architecture for friendship. (shrink)

This review essay introduces Brian Treanor’s Melancholic Joy in dialogue with themes in Nietzsche’s thought. The book invites this comparison in its penultimate section, which distinguishes briefly its own account from the tenets of Dionysiac pessimism. Finding that section fertile, but tantalizingly short, I parse in greater detail relevant points of convergence and divergence. The first section, “After Nietzsche,” follows Nietzsche’s development out of the first naïveté of ascetic idealism and into the wanderer’s night of biting suspicion. It likens (...) Nietzsche’s leonine eschewal of metaphysics and morals to Treanor’s sober engagement with the fruits of the physics and philosophy that have ripened in between. The second section, “Second Innocence,” contrasts Nietzsche’s vision of childlike innocence after nihilism, a renaissance beyond good and evil, with Treanor’s vital response to an updated nihilism: a love of world that refuses to deny the many realities of evil, and that responds by embracing the many mundane realities of joy. (shrink)

The Institute of Social Research, from which the Frankfurt School developed, was founded in the early years of the Weimar Republic. It survived the Nazi era in exile, to become an important centre of social theory in the postwar era. Early members of the school, such as Adorno, Horkheimer and Marcuse, developed a form of Marxist theory known as Critical Theory, which became influential in the study of class, politics, culture and ideology. The work of more recent members, and in (...) particular Habermas, has received wide attention throughout Europe and North America. Tom Bottomore's study takes a new and controversial look at the contributions of the Frankfurt School to modern sociology, examining several issues not previously discussed elsewhere. He discusses the neglect of history and political economy by the critical theorists, and considers the relationship of the later Frankfurt School to the radical movements of the 1960s and the present time. His critical analysis makes the school's writers accessible, through an assessment of their work and an exploration of the relationship of Critical Theory to other forms of sociological thought, especially positivism and structuralism. (shrink)

Correspondance de Theodore Jouffroy / publiee avec une etude sur Jouffroy par Adolphe LairDate de l'edition originale: 1901Sujet de l'ouvrage: Jouffroy, Theodore (1796-1842) -- CorrespondanceComprend: etude sur Jouffroy...Ce livre est la reproduction fidele d'une oeuvre publiee avant 1920 et fait partie d'une collection de livres reimprimes a la demande editee par Hachette Livre, dans le cadre d'un partenariat avec la Bibliotheque nationale de France, offrant l'opportunite d'acceder a des ouvrages anciens et souvent rares issus des fonds patrimoniaux de la BnF.Les (...) oeuvres faisant partie de cette collection ont ete numerisees par la BnF et sont presentes sur Gallica, sa bibliotheque numerique.En entreprenant de redonner vie a ces ouvrages au travers d'une collection de livres reimprimes a la demande, nous leur donnons la possibilite de rencontrer un public elargi et participons a la transmission de connaissances et de savoirs parfois difficilement accessibles.Nous avons cherche a concilier la reproduction fidele d'un livre ancien a partir de sa version numerisee avec le souci d'un confort de lecture optimal. Nous esperons que les ouvrages de cette nouvelle collection vous apporteront entiere satisfaction.Pour plus d'informations, rendez-vous sur www.hachettebnf.frhttp: //gallica.bnf.fr/ark: /12148/bpt6k84073s. (shrink)