In what follows I raise the question of Ariadne and Dionysus for Nietzsche, including the relative size of Ariadne’s ears, as Dionysus observes at the close of “Ariadne’s Lament” [Klage der Ariadne]. Nietzsche’s references to ears invoke not only Nietzsche’s “selective” concern with having the right ears but also the question of myth and genealogical context. Reading through myth is key not only in terms of the textual, lyric tradition but also painting and sculpture, including sarcophagi in antiquity. It makes (...) all the difference to ask, as Karl Kerényi cites Nietzsche as asking: Wer weiß …was Ariadne ist? And not less: who was she to Dionysus? To this extent, Nietzsche’s concern with ears, small and long, is less incidental or furry fetish than hermeneutic attunement. (shrink)

Con el objetivo de cuestionar aquellas interpretaciones que identifican la comprensión liberal del Estado con una estructura organizativa reducida a su mínima expresión cuyo desempeño debe quedar supeditado a las dinámicas económico-productivas, el presente artículo se propone revisar críticamente las propuestas de dos figuras destacadas dentro de la tradición del liberalismo: Adam Smith y Friedrich Hayek. Para ello se compara el modo en el que estos autores articulan el concepto de Estado sobre un plano operativo, en particular, en lo referido (...) al principio de “gobierno limitado”. Se identifican las funciones adjudicadas a las instituciones públicas y se caracteriza el modo en el que se presentan las relaciones entre la órbita estatal y la órbita social. Por último, se destacan continuidades y diferencias entre ambas posturas. Sobre esa base, se proponen algunas reflexiones en torno a la eventual distinción entre un liberalismo ético-político y un liberalismo económico. (shrink)

El presente artículo tiene por objetivo estipular algunas de las implicacionesque, dentro de la obra de Michel Foucault, supone la aparición de laperspectiva gubernamental. Para ello se especificarán algunos predicadosasociados a los conceptos de “gobierno” y “gubernamentalidad” ensu relación con ciertas nociones significativas como las de “poder” y“conducta”. Se señalarán los supuestos metodológicos que Foucault asumeal tomar al Estado como objeto de indagación. Se procurará explicitar porqué, en la reconstrucción propuesta por el autor, la gubernamentalidadestatal constituye un problema específicamente moderno. (...) Por último, seseñalará la vinculación entre el surgimiento de la gubernamentalidad y laaparición de aquella forma de reflexión crítica que implica un compromisocon el tiempo actual y que Foucault identifica con la impronta de laIlustración. (shrink)

Dentro del amplio campo problemático que configuran las diversas indagaciones en torno a la biopolítica, se destacan aquéllas que estipulan la necesidad de ampliar, profundizar, completar e incluso enmendar las significaciones que Michel Foucault le imprimiera a este concepto durante la década de 1970. El presente artículo tomará en consideración la “biopolítica afirmativa” desarrollada por Roberto Esposito, la cual aparece caracterizada como el pasaje desde una política sobre la vida hacia una política de la vida. A partir del establecimiento de (...) algunas tensiones entre los lineamientos generales del pensamiento foucaultiano y la biopolítica de Esposito, se buscará explicitar los supuestos de esta última y ponderar algunas de sus implicancias. (shrink)

At the outset of World War I - the "Great War" - Freud supported the Austro-Hungarian Empire for which his sons fought. But the cruel truths of that bloody conflict, wrought on the psyches as much as the bodies of the soldiers returning from the battlefield, caused him to rethink his stance and subsequently affected his theory: Psychoanalysis, a healing science, could tell us much about both the drive for war and the ways to undo the trauma that war inherently (...) breeds, but its principles could just as easily serve the enemy's desires to inculcate its own brand of "truth." Even a century later, psychoanalysis can still be used as much for the justifications of warfare and propaganda as it is for the defiance of and resistance to those same things. But it is in the investigation of the motives and methods behind these uses that psychoanalysis proves its greatest strength. To wit, this edited collection presents published and unpublished material by analysts, writers, and activists who have worked at the front lines of psychic life and war from various stances. Set at a point of tension and contradiction, they illustrate the paradoxical relation of psychoanalysis as both a site of resistance and healing and a necessary aspect of warmaking, propaganda, and militarism. In doing so, we venture from the home front - from the trauma of returning veterans to the APA's own complicity in CIA "black sites" - across international borders - from the treatment of women in Latin American dictatorships to the resistance to occupation in Palestine, from mind control to an ethics of responsibility. Throughout, a psychoanalytic sensibility deconstructs the very opposition that it inhabits, and seeks to reestablish psychoanalysis as the healing discipline it was conceived to be. (shrink)

This essay examines Nietzsche’s musical ontology and situates it within the naturalist and anti-metaphysical framework evident throughout his corpus. Nietzsche often associated this position with the figure of Dionysus, which plays a leading role in The Birth of Tragedy, his most sustained consideration of music and musical ontology. The essay returns to The Birth of Tragedy in an effort to recover Nietzsche’s musical ontology and its relationship with ontology more generally. Heeding Nietzsche’s own remarks, I read this text in light (...) of his mature philosophy. My analysis draws on the work of the late twentieth-century Nietzschean, Gilles Deleuze, whose distinction between “the virtual” and “the actual” enables us to see what is really at issue in The Birth of Tragedy. (shrink)

This paper inquires the emergency of modern individualism and the role of Botticelli´s Primavera in their initial imaginary development. The focus is placed on four analytical levels: (1) the level of difference in a superficial representative naturalist order between human figures; (2) the level ..

Dionysus after Nietzsche examines the way that The Birth of Tragedy (1872) by Friedrich Nietzsche irrevocably influenced twentieth-century literature and thought. Adam Lecznar argues that Nietzsche's Dionysus became a symbol of the irrational forces of culture that cannot be contained, and explores the presence of Nietzsche's Greeks in the diverse writings of Jane Harrison, D. H. Lawrence, Martin Heidegger, Richard Schechner and Wole Soyinka (amongst others). From Jane Harrison's controversial ideas about Greek religion in an anthropological modernity, to Wole Soyinka's (...) reimagining of a postcolonial genre of tragedy, each of the writers under discussion used the Nietzschean vision of Greece to develop subversive discourses of temporality, identity, history and classicism. In this way, they all took up Nietzsche's call to disrupt pre-existing discourses of classical meaning and create new modes of thinking about the Classics that speak to the immediate concerns of the present. (shrink)

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

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

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

Assinalando o quinto centenário da morte do pintor Sandro Botticelli (1445-1510), homenageia-se aqui a obra deste artista destacado do Renascimento através da relação entre dois dos seus mais importantes quadros e textos de dois autores italianos: Nastagio degli Onesti e Nascimento de Vénus contêm duas representações da mulher, coincidindo tanto no comportamento que dela espera a sociedade renascentista, como nos modelos medievais de Giovanni Boccaccio (1313-1375) e de Francesco Petrarca (1304-1374).O conjunto pictórico Nastagio degli Onesti, baseado em “A terrível (...) visão” (um dos cem contos da obra Decameron, de Boccaccio), pode ser entendido como um veículo de propaganda doutrinária ao serviço de uma ideologia feudal, que propõe a submissão do “objecto” feminino ao sujeito masculino, ao matrimónio e aos mais elevados interesses oligárquicos.O Nascimento de Vénus é, muito provavelmente, o quadro mais famoso de Botticelli. Pintado no auge da sua carreira, procura transpor o cânone estético da Vénus pagã da Antiguidade para a Laura cristã de Petrarca: a mulher, como símbolo da baixa paixão carnal, metamorfoseia-se no mais elevado amor espiritual. Com efeito, a Vénus botticelliana tem a beleza da Laura petrarquista, seguindo ainda o cânone provençal para destacar os seus predicados físicos. (shrink)

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

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

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

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

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

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

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

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

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

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

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

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)

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

We are still far from a religious history of Europe (l'histoire réligieuse de l'Europe) which would satisfy the requirements of modern religious scholarship. We do, however, have a picture of the religions of Europe, the old and the new, of their metamorphoses and effects on the intellectual world of European man, which we can use as a temporary survey. A modification in this survey concerns not only scholars; the religious history of Europe is our religious history, regardless of the value (...) it has for the individual as creed or philosophical doctrine. Unlike religion, religious history cannot be repudiated on the basis of doubts as to its truth or its existential validity (could this be “my” religion?). What is more, such a history cannot be side-stepped, for even the repudiation of all religion is an act within religious history; and a presentation of the religious history of Europe which does not concern itself with Nietzsche would not satisfy our demands as scholars. (shrink)

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

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

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