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The Apollonian and the Dionysian are philosophical and literary concepts represented by a duality between the figures of Apollo and Dionysus from Greek mythology.Its popularization is widely attributed to the work The Birth of Tragedy by Friedrich Nietzsche, though the terms had already been in use prior to this, [1] such as in the writings of poet Friedrich Hölderlin, historian Johann ...
Nietzsche found in classical Athenian tragedy an art form that transcended the pessimism and nihilism of a fundamentally meaningless world. Originally educated as a philologist, Nietzsche discusses the history of the tragic form and introduces an intellectual dichotomy between the Dionysian and the Apollonian (very loosely: reality as disordered and undifferentiated by forms versus reality as ...
However, Nietzsche strongly distinguishes his Dionysus from the Dionysus of the Orphic tradition, which he considers a later corruption of the original Dionysian force. To him in the pre-Homeric world, Dionysian civilizations were marked by barbarism, cruelty, and ecstatic sexual excess, unrestrained by rational or moral principles.
Know thyself" (Greek: Γνῶθι σεαυτόν, gnōthi seauton) [a] is a philosophical maxim which was inscribed upon the Temple of Apollo in the ancient Greek precinct of Delphi. The best-known of the Delphic maxims , it has been quoted and analyzed by numerous authors throughout history, and has been applied in many ways.
Dionysian Dithyrambs (German: Dionysos-Dithyramben), also called Dionysus-Dithyrambs, is a collection of nine poems written in second half of 1888 by Friedrich Nietzsche under the pen name of Dionysos.
This concept of a rivalry or opposition between Dionysus and Apollo has been characterized as a "modern myth", as it is the invention of modern thinkers like Nietzsche and Johann Joachim Winckelmann, and is not found in classical sources. However, the acceptance and popularity of this theme in Western culture has been so great, that its ...
Nietzsche left this work unfinished [1] in order to turn his attention to aiding Richard Wagner. The composer was having difficulty raising funds in Germany for his Bayreuth Festspielhaus . Instead of concerning himself with the Ancient Greeks, Nietzsche tried to convince his contemporary Germans that their cultural outlook was incorrect.
The last chapter of Ecce Homo, entitled "Why I Am a Destiny", is primarily concerned with reiterating Nietzsche's thoughts on Christianity, corroborating Christianity's decadence and his ideas as to uncovering Christian morality. He signs the book "Dionysus versus the Crucified."