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1
Heinrich, Johannes. "Nietzsche als Philosoph des Lebens." Nietzsche-Studien 48, no. 1 (2019): 271–90. http://dx.doi.org/10.1515/nietzstu-2019-0015.
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Abstract The books discussed in this article examine Nietzsche’s philosophy of life in different ways. Nietzsche’s theory of art as well as his Dionysian philosophy play a special role, which emphasizes the possible continuity of these terms in Nietzsche’s works. An additional focus of attention are Nietzsche’s philosophy of the body as well as his relationship to the theory of evolution. Nietzsche’s position is distinguished from Darwinism by the former’s focus on an anti-essentialist critique of the concept of nature and of mind-body dualism. Finally, the possibilities of a phenomenological interpretation of Nietzsche are taken into consideration, which situates the concept of the life-world, or Lebenswelt, in the context of Nietzsche’s own conception of life.
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Mamatov, Gleb M. "Konstantin Balmont’s concept of music and its embodiment in his book of verses A Gift to the Earth." Vestnik Tomskogo gosudarstvennogo universiteta, no. 498 (2024): 47–58. https://doi.org/10.17223/15617793/498/6.
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The article is dedicated to the theme of music in Konstantin Balmonts book of verses A Gift to the Earth. I analyze its symbols, mythopoetics, and composition. This theme is primarily described in the poet’s theoretical works, in his books of travels (Sun Power, Snake Flowers, Land of Osiris, “Light-Sound in Nature and The Light Symphony’ of Scriabin”, Poetry like Magic). In Balmonts aesthetical position, music is the cosmogony power, which participates in the creation of the world. It is created by the Sun and the Moon and correlates with the theme of cosmogony, Space, with World Symphony and Global Harmony. In this conception, the role of the Artist is extremely important. He is a son of the Sun and his music has world-creating power. But the Artist-Demiurge must sacrifice himself for this Great Music. Balmonts ideas are connected with his mythopoetic views and with the conception of the younger generation of Russian symbolists (A. Bely and V.I. Ivanov). The Artist is the torn and resurrected God. In Ivanovs poetics, this God is Dionysus; in Balmonts works, it is Osiris. Like in conceptions of Bely and Ivanov, in Balmons art, the world space is constructed from two elements, and at the heart of this world is World Symphony. Balmont repeats central images of the Dionysian conception (wine, grape, death, dance, bacchanal, fire). But Balmont creates his conception based on other ideas. Apollo and Dionysus are transformed into Egyptian proeleptic gods, and music is a divine spirit correlated with nature and heavenly luminaries. World Symphony symbolizes absolute harmony in the eternally transforming world, all parts of which sound in consonance concord. These views find a reflection in the book A Gift to the Earth. Music and Artist are a Divine Spirit, which has lived since the time of Chaos. In this harmony, the opposing elements of the World unite in Global Symphony. The central motif in the book is the sun music, which correlates with Ancient Egyptian myths. The sun and fire create a beautiful melody, which gifts sunlight and sun-sound to the earth. But the departure of the sun into the darkness symbolizes the death of music and the destruction of the world and life of the books character, but the sun power is great and it wins. The image of the sun bell symbolizes the creation of the World and its new life, spring, flowering and fertility. I analyze the composition of A Gift to the Earth, which is close to the leitmotiv structure of Symphony; the composition is dynamic and whirling due to the constantly recurring leitmotivs and the rhythmic structure of the sonnets. This poetical symphonism is pronounced in the sonnet sequence “The Ring”.
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Resende, Max De Filippis. "A relação entre arte e conhecimento na concepção trágico-dionisíaca nietzscheana da existência." Ítaca, no. 21 (October 10, 2012): 123–36. http://dx.doi.org/10.59488/itaca.v0i21.248.
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Resumo: Na concepção trágica nietzscheana, o todo fenomênico do mundo se revela como um jogo de criação que se realiza através do conhecer humano. Assim, seria tarefa do homem assumir esse poder criador como seu próprio constituinte e como sua tarefa mais alta: a de imprimir formas ao devir. Entendemos que o filósofo carrega, até o final de sua obra, uma noção desta resposta grega ao desafio da vida que ele originalmente elabora em seus primeiros textos, desenvolvendo a partir daí importantes concepções de seu trabalho.Palavras-chave: tragédia; dionisíaco; vontade de poder.Abstract: In Nietzsche's tragic conception, the whole phenomenal world is revealed as a game of creation that realize itself through the human knowledge. Thus, would be man's task accept this creative power as his own constitutive and as his highest task: to print forms on the be-coming. We understand that the philosopher carries, by the end of his work, a sense of this Greek response to the challenge of life that he originally elaborated in his earlier writings, thereafter developing important concepts of his work.Keywords: tragedy; Dionysian; will of power.
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Mamatov, Gleb M. "Johann Sebastian Bach and Wolfgang Amadeus Mozart in the works of Boris Poplavsky." Sibirskiy filologicheskiy zhurnal, no. 3 (2022): 110–24. http://dx.doi.org/10.17223/18137083/80/10.
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The paper is devoted to studying the images of 18th-century German composers Johann Sebastian Bach and Wolfgang Amadeus Mozart in the works of Boris Poplavsky, including diaries, articles, poems, and prose. It was found that the image of Bach was transformed, starting from the articles of the early 1930s to the final work “About substantiality of personality”. In early works, Bach is a symbol of Apollonian art, perfect and harmonious, but cold-blooded towards man. However, in the final work, the music of the German Baroque composer is a symbol of “Pan, who resurrected in Christ” and embodies harmony and integrity of the Universe. The image of Mozart shows other connotations. He is a Dionysian artist, understood in terms of sensuality, “playing on the low and sweet” nature of man. This nature principle of Mozart, which Poplavsky names “sweet melodiousness”, is considered necessary for the formation of the creator, his initiation. This is related to Boris Poplavsky’s conception of the spirit of music, according to which an artist must die and sacrifice himself to the sacred spirit of music. For this reason, Mozart in Poplavsky’s conception of music has a mortal origin. In prose (novel “Apollon Bezobrazov”) and poems, the motive of Mozart’s “Requiem” arises, connected with apocalyptical themes and harmony of the world. This paper compares Poplavsky’s views and works with the concepts of his modernist predecessors and proves that the poet created original myths about musicians based on the traditions of modernity but acquiring uniqueness due to aesthetic principles.
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Quiring, Björn. "Interpreting Hamlet’s Pregnant Silences: Nietzsche and Benjamin." Poetica 52, no. 3-4 (2021): 315–33. http://dx.doi.org/10.30965/25890530-05201013.
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Abstract In Shakespeare’s Hamlet, the protagonist frequently and eloquently refers to his own taciturnity and to the fundamental insights into the ways of the world that this silence conceals from his interlocutors. It is partly due to this emphasis on a pivotal inaccessibilty that the play has provoked numerous philosophical interpretations. For example, Nietzsche in The Birth of Tragedy and Walter Benjamin in Origin of the German Trauerspiel have dealt with Hamlet’s loquacious refusal to communicate, and their interpretations, while problematic in some respects, can contribute to a better understanding of the drama, especially when they are placed in relation to one another. While Nietzsche’s somewhat forced interpretation traces Hamlet’s silence to the Dionysian experience of ancient tragedy, Benjamin’s counter-interpretation construes this silence as the expression of a specifically Protestant, melancholic conception of history, as well as of its dialectical overcoming. Although Origin of the German Trauerspiel convincingly demonstrates that Hamlet transforms his relationship to society and its language in the course of the play by reinterpreting the contingency of historical events as manifestations of eternal providence, a closer reading of the drama shows that this reinterpretation is not, as Benjamin claims, unfolding a genuinely Christian dialectic, at the endpoint of which stands the blissful silence of assured salvation. Rather, this reinterpretation appears as the expression of an amor fati that in many respects prefigures Nietzsche’s categorical affirmation of blind necessity; Hamlet’s interpretation of the course of the world as a circulus vitiosus resembles the idea of the eternal return, embracing this figure of thought in its most hopeless and most seminal form: as an apotheosis of endless annihilation.
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Franc, Tomasz. "Narodziny Boga w duszy człowieka według Mistrza Eckarta." Wrocławski Przegląd Teologiczny 17, no. 2 (2009): 7–30. https://doi.org/10.52097/wpt.3145.
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This article presents the mystical assumptions of Master John Eckhart, a medieval Dominican friar. Eckhart, thanks to the originality of his conceptions, formed the basis for a new branch of mysticism, called intellectual-speculative mysticism, based on strictly scientific, philosophical-theological thinking. His mysticism is based first and foremost on the Holy Bible, with philosophy as a tool used to express the inner experience. Among the antecedents of his ideas, Plotinus, St. Augustine, Pseudo-Dionysius the Areopagite and St. Albert the Great should be mentioned. Eckhart presented his thoughts about this in Sermons, which are analyzed in this article. The core idea of Sermons is the conception of unio mystica – a vision of what is the reality of the birth of God in the depths of the human soul. What Eckhart tries to express is the identity of the non-identical (God and the human soul created by Him) in a mystical act. Eckhartian mysticism is a kind of challenge and a chance for modern man. A challenge to our unending concern about earthly matters, and to our frenzied lives.. A chance, because present day man, living in the world, in Eckhart Bains a Master, who can teach him how to find contemplatio in actio. Master Eckhart can teach modern man the mysticism of everyday life.
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Stępień, Tomasz. "Being Alive, Living a Life. The Unity of the Concept of Life in Pseudo-Dionysius the Areopagite." Verbum Vitae 39, no. 3 (2021): 1007–24. http://dx.doi.org/10.31743/vv.12910.
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The writings of Corpus Dionysiacum present a concept of life which is different from the one that we profess nowadays. Its view is backed up mainly by the Platonic tradition, which since the times of Plato has tended to see life as an intellectual principle. Therefore, in the Neoplatonic system we can find the conviction that life, in its fullest sense, is intellectual and at its peak is a vision of the One. In the system of Proclus, life, apart from being a principle, is also a god and the main principle of the whole world of intellectual and intellective gods. Pseudo-Dionysius in his writings exploits the concept of the unparticipable and participable principle, and since God is for him Trinity completely beyond participation and knowledge, the divine names play the role of participable henads. However, for Dionysius, names are neither hypostases nor living gods, which is clearly visible in case of the name of Life. All things participate in the name of life and in this name God is the only principle of life in the universe. However, life is not a property to own, but rather a constant struggle to approach the Trinity. Therefore, by committing a sin, an angel or a man loses life, which in the case of a man can be regained through sacramental activity. An analysis of the thoughts of Pseudo-Dionysius reveals a conception of life which is unified contrary to its shattered modern understanding. While biological, mental, moral lives fundamentally differ for us, for Dionysius those are merely aspects of the same thing, and therefore in his view life can be lost and regained not only in the metaphorical, but also the ontological sense.
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Brancaccio, Pia, and Xinru Liu. "Dionysus and drama in the Buddhist art of Gandhara." Journal of Global History 4, no. 2 (2009): 219–44. http://dx.doi.org/10.1017/s1740022809003131.
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AbstractThis essay examines the relationships existing between Dionysian traditions of wine drinking and drama that reached the easternmost part of the Hellenistic world, and the Buddhist culture and art that flourished in Gandhara (Eastern Afghanistan and Northern Pakistan) under the Kushan kings between the first and third centuries CE. By piecing together archaeological, artistic and literary evidence, it appears that along with viniculture and viticulture, Dionysian rituals, Greek theatre and vernacular drama also became rooted in these eastern lands. Continuous interactions with the Graeco-Roman world strengthened these important cultural elements. At the beginning of the Common Era Dionysian traditions and drama came to be employed by the Buddhists of Gandhara to propagate their own ideas. The creation of a body of artworks representing the life of the Buddha in narrative form along with the literary work of Ashvaghosha, may be an expression of the same dramatic format that developed locally along with a strong Dionysian ritual presence.
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Kaianidi, Leonid G. "Representation of the Dionysian-mysterial plot in the book of poems Pilot Stars by Vyacheslav Ivanov." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 88 (2024): 148–66. https://doi.org/10.17223/19986645/88/8.
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In the book Pilot Stars (Kormchiye zvyozdy), the first poetic explication of the Dionysian-mysterial plot takes place. This plot is a system, which, based on the Orphic myth of the tearing of Dionysus, performs a constructive-paradigmatic function in Ivanov, modeling a variety of semantic structures (the system of images, the structure of the plot, etc.). The aim of this work is to describe features of the representation of the Dionysian-mysterial plot in the first book by Vyacheslav Ivanov. The main material of the study was Pilot Stars. To understand poetic texts, the author used Ivanov’s monograph Dionysus and Early Dionysianism, his philosophical articles and extensive epistolary works, as well as the philosophical heritage of the Neoplatonics-Orphics. In the course of the research, the author used comparative, hermeneutic, structuralsemantic methods, the method of contextual and motivic-thematic analysis. First, the author described the structure and symbolic potential of the Dionysian-mysterial plot. It splits into two parts: the plot of the descent, in the center of which is the death of Dionysus and the fall of humankind, and the plot of the ascent, in which the resurrection of Dionysus and the rebirth of humankind take place. The Dionysian-mysterial motifs are concentrated mainly in the two final cycles of the book: “Evia” and “Suspiria”. This is explained by the history of their creation: they were created in 1902, when Ivanov, wanting to overcome the influence of Friedrich Nietzsche in the field of religious history, studied Dionysian cults at the German Archaeological Institute in Athens. In lyrical texts, unlike in Ivanov’s major works (poems, tragedies), the representation of the Dionysian-mysterial plot has its own peculiarities. Firstly, the poems contain only two or three Dionysian-mysterial motifs or images, and the whole plot never appears in its entirety. These motifs tend to the two triads of the Dionysian-mysterial plot – the mysterial one (the tearing of Dionysus as the universal fall) and the soteriological one (the redemption of humanity through its reunion with the resurrected Dionysus). In Pilot Stars, the Dionysian-mysterial plot is represented with the help of astral symbolism. It is represented antinomically. As a disconnected multitude, the starry sky symbolizes the tearing of Dionysus. In this case, the stars are parts of the torn cosmic body of Dionysus, titans filled with Dionysian energies, and at the same time a host of souls whom Dionysus brings down to the world of the dead. As a multiple unity, the starry sky is a symbol of the risen Dionysus, who raises the souls of the dead from the world of the dead to the world of the living, as well as a conciliar multitude of titanic beings transformed by Dionysian energies.
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Pidel, Aaron. "Ignatius Loyola’s “Hierarchical Church” as Dionysian Reform Program." Theological Studies 83, no. 4 (2022): 554–78. http://dx.doi.org/10.1177/00405639221127267.
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This article argues that Ignatius Loyola, in proposing the “hierarchical Church” as norm for judgment and feeling, meant to evoke and commend aspects of the Dionysian tradition—especially its principle of hierarchical mediation and its affective portrait of spiritual perfection. Supporting this interpretation are considerations of the world behind the text (the reforming Dionysianism abroad in Ignatian Paris), the world of the text (the culminating position and concerns of the “hierarchical Church”), and the world in front of the text (its reception by Peter Faber and Jerome Nadal). Interpreted against a Dionysian backdrop, Ignatius’s hierarchical church becomes a charter for ecclesial mysticism.
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Kouachi, Rawiya. "Friedrich Nietzsche’s Apollonian and Dionysian Dichotomy in Kate Chopin’s The Awakening." Milev Journal of Research and Studies 8, no. 2 (2022): 369–79. http://dx.doi.org/10.58205/mjrs.v8i2.109.
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Human nature is a thorny topic that triggers a myriad of discussions all over the world. In this regard, researchers endeavor to understand human behavior as a result of rational or emotional impulses. Accordingly, this article attempts to diagnose the controlling power of human nature in Kate Chopin’s The Awakening and the real cause of the characters’ downfall from Friedrich Nietzsche’s philosophical ideas. Hence, the analysis reveals that some characters’ behavior, like the protagonist Edna Pontellier and Victor Lebrun, is controlled by emotional Dionysian impulses; while, the behavior of Léonce Pontellier, Robert Lebrun, Mademoiselle Reisz and Adèle Ratignolle reflects rational Apollonian tendencies. Yet, most of the characters fail to make a balance between Apollonian and Dionysian characteristics that led to their tragic downfall inasmuch as the best life, for Nietzsche, demonstrates the combination of both Apollonian and Dionysian impulses. Therefore, human life is based on the harmony between Apollonian and Dionysian tendencies.
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Amada, Cesibel Ochoa Pineda. "Aproximación a la metafísica del arte en Nietzsche." Revista de Filosofía, Centro de Estudios Filosóficos, Universidad del Zulia. Maracaibo - Venezuela 39, Especial (2022): 82–100. https://doi.org/10.5281/zenodo.6416134.
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El propósito de esta contribución es esbozar una formulación de la metafísica del arte y del artista en el pensamiento de Friedrich Nietzsche (1844-1900), partiendo del supuesto que el cuerpo y su expresividad ocupan un papel central en la filosofía del arte nietzscheana. Nietzsche recurre a una concepción de la corporalidad como medio expresivo para crear la obra de modo realizativo, como es propio de las artes escénicas, que tienen al cuerpo como sujeto/objeto de su acción. También, se ensaya un ejemplo de la estética nietzscheana en la teoría del “duende”, propia de la poética literaria de Federico García Lorca (1898-1936).
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Jovanovski, Thomas. "A Synthetic Formulation of Nietzsche's Aesthetic Model." Dialogue 29, no. 3 (1990): 399–414. http://dx.doi.org/10.1017/s0012217300013159.
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Nietzsche's philosophy in extenso may properly be appraised as a sustained endeavour to effect a creative sublation of Western ontology—and thus to nullify the latter's aesthetic Socratic basis—as a prerequisite toward the re-establishment of the instinct-affirming property of the post-Homeric/pre-Socratic Attic tragic paideia. Hence Nietzsche is compelled to investigate art's intrinsically twofold and ostensibly self-contradictory nature; namely, (i) its proclivity to metaphysically abstract Being and (ii) its capability to bring forth a context of ontological absence. Accordingly, paramount to his interest and analysis is his conception that art (in all its manifestations) is entirely and necessarily grounded in the dynamic interplay between the two primary, antithetical but not irreconcilable artistic impulses—(i) the Apollinian and (ii) the Dionysian. As he argues in the opening lines of The Birth of Tragedy (with the apparent conviction of a missionary for the “science of aesthetics”): “The continuous development of art is bound up with the Apollinian and the Dionysian duality—just as procreation depends on the duality of the sexes, involving perpetual strife with only periodically intervening reconciliations.”
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Rai, Man Kumar. "Apollonian and Dionysian Forces in William Golding’s Lord of the Flies." Koshi Pravah: Multidisciplinary Peer Reviewed Journal 1, no. 1 (2022): 55–63. http://dx.doi.org/10.3126/koshipravah.v1i1.57372.
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The objective of this research is to study evil nature of men which is portrayed through the British school children in Golding’s Lord of the Flies. The study further examines how it is important to balance Dionysian and Apollonian drive in order to maintain harmony in the society. Two driving forces of human being are identified by Nietzsche’s terms Apollonian and Dionysian. The two concepts defined by Nietzsche have been used as theoretical tools to analyze the text. Jack ignores Apollonian drive because of his mob mentality. He does not like argument and reason made by Ralph and Piggy. He tries to arouse Dionysian drive in school children in order to collect force against Ralph. Irrational part of Jack’s heart subverts the positive part of British school children’s society. Dionysian drive transforms his heart into emotionless stuff. He kills his own friends. He enjoys gathering boys and misguiding them in the world of illusion. Golding describes the story of a tragic color through the portrayal of the evil in human nature. Two groups of British school going children represent two sides of heart or two parts of the society. The novel argues that proper harmony between two sides or groups leads society to proper direction.
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Kuznetsov, Ilya V. "Between Pan and the Gray Wolf: Dionysian Variations." Studies in Theory of Literary Plot and Narratology 2 (2023): 91–99. http://dx.doi.org/10.25205/2713-3133-2023-2-91-99.
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Mariam Petrosyan’s novel “The House in which ...” uses a model of two worlds and involves several teenage trickster heroes who can go into another reality called “The Forest”, as well as take other children there. The paradigm for such a plot structure in European literature aimed at children and adolescents is D. Barry’s book “Peter Pan”. Her hero is correlated with a pagan Pan, and he takes boys from ordinary families to his island. Peter Pan does not want to grow up and does not know love; the children he takes away must be cheerful and heartless. The immobile time on Peter Pan Island and the lack of love there contrast this world with Christian culture, but they bring it closer to the pagan – Dionysian world, in the words of F. Nietzsche. This construction proved to be very fruitful in the European mass literature of the 20th and 21st centuries. However, in Mariam Petrosyan’s novel, in contrast to this literature, the images of tricksters are not cultivated. They preserve and show the werewolf, dark, dangerous nature. This interpretation of the trickster is connected with the specifics of the Russian literary tradition. Since the time of Romanticism, which established the model of two worlds, the other world in this tradition was usually presented as hostile to man. In the modern era, the two-world model has regained its validity. This was largely due to the fact that the aesthetics of Russian modernism adopted the Nietzschean concept of Dionysianism, specifically interpreted as an appeal to soil culture. However, on the part of traditionally thinking writers, such pochvennichestvo met with rejection. He was criticized by Ivan Bunin, in the story “Sukhodol”, contrasting Christianity with him as the only mechanism for preserving cultural memory. In the 21st century, in the stories of Elena Chizhova, Irina Bogatyreva, Evgenia Nekrasova, the model of two worlds with an appeal to soil culture was again actualized. The characters of the other world were depicted in them as assistants to the heroes, but at the same time unsafe and alien creatures. This interpretation of the trickster is close to the image of a magical assistant in a fairy tale. It was she who was realized in the novel by Mariam Petrosyan.
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Stevens, Zachary. "The Importance of Being Honest: Free Spirits and Idiosyncrasy in Nietzsche." Labyrinth 26, no. 1 (2024): 185–201. http://dx.doi.org/10.25180/lj.v26i1.358.
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The main argument of this paper is that the debate on whether Nietzsche is communitarian or individualist is wrongheaded, failing to distinguish the conception of community and individual Nietzsche critiques, the 'mob' and the 'Higher Man', from the conceptions Nietzsche envisions and hopes for, his 'free spirits' and – what I call, based on the critique of indivisible subjects in the Genealogy of Morality – the idiosyncrasy. I propose a reading of Nietzsche which elaborates his novel conception of a non-ascetic will to truth, based in courageous honesty and self-overcoming, rather than self-preservation, in order to conceive these individuals and communities. The coupling of Dionysus and Apollo has to be replaced with Dionysus and Ariadne because, using key terms from Deleuze's Nietzsche, the sense and value of critique is generated from a labyrinthine, Dionysian meaning as will to power and Ariadne's thread as evaluation based on the eternal recurrence, constituting the idiosyncrasy and the free spirits, respectively.
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Matveychev, Oleg A. "The Russian Silver Age: Dionysianism Versus Principium Individuationis." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 4 (208) (December 23, 2020): 21–28. http://dx.doi.org/10.18522/2687-0770-2020-4-21-28.
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The article examines the existence, development and historical fate of the famous Nietzschean antithesis “Apollonian and Dionysian” in Russian culture of the late 19th - early 20th century. The author considers reasons for the true triumph of Nietzsche in Russia during the Silver Age and the peculiarities of the reception of his ideas by the Russian intelligentsia. The emphasis in the work is on the ideas of V. Ivanov - the main guide, herald and living embodiment of the idea of Dionysianism in Russia (the works of almost all other authors who addressed this topic were written under his influence). The main stages of the formation of his original concept of the cult of Dionysus, perceived by Ivanov as a primarily a religious phenomenon, are analyzed (the thinker refuses to use the concepts “Apollonian” and “Dionysian” as metaphors to describe a particular cultural reality). Ivanov's most important idea was the presentation of the cult of Dionysus and the “religion of the suffering god” as a “preparation” for Christianity. In the "restoration" of the Dionysian cult, Ivanov sees the way to overcome the crisis of the modern world, based on the principium individuationis.
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Dobrovolskyi, Liubomyr S., та Ulan U. Umitkaliev. "Z-Symbols in the Interpretation of the Semantics of the Configuration of S- and Г-Shaped Scythian Cheek-Pieces of the Eastern European Zone". Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 1, № 47 (2024): 125–38. http://dx.doi.org/10.24852/pa2024.1.47.125.138.
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The work deals with the issue of the regional specificity of the formation and development of the Dionysian cult and Orphic teachings, common in the Northern Black Sea region during the Greek colonization of the 6th–5th centuries BC. On the extensive Scythian archaeological material of the Eastern European zone, the design of horse headbands decorated with cult symbols of Dionysus-Zagreus is being studied. S-shaped and Г-shaped Scythian cheekpieces serve as an object of study to determine whether their configuration corresponds to the inscriptions of the initial letter in the Greek name Zagreus on bone plates from Olbia, which are the first epigraphic evidence of the penetration of the Orphic teaching into the Northern Black Sea region. The results reveal the semantic content of the shape of the Scythian cheekpieces, imitating the inscription of the letter zeta, the initial letter in the name of Dionysus Zagreus, or serving as the designation of number seven, a magical number for adherents of the Dionysian cult and Orphism as a religious and philosophical doctrine. The symbols of the Dionysian cult and the Orphic teachings, used by the Scythians in the manufacture of decorative elements for horse equipment, performed an apothropeic and mystical function for those initiated or close to this cult, or served as a certain distinctive sign in society. Further study of Scythian artifacts for the presence of Dionysian symbolism will allow us to trace the extent of the spread of the cult of Dionysus, as well as make a comparative description with other areas of the Scythian-Siberian world and reveal the semantic load of animal images in connection with the shape of products decorated in the Scythian animal style.
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О., П. Гужва. "ДІОНІСІЙСЬКЕ ТА АПОЛЛОНІЙСЬКЕ В ПОЕЗІЇ ЛЕСІ УКРАЇНКИ". Вісник Харківського національного педагогічного університету імені Г.С. Сковороди "Філософія" 2, № 45 (2015): 31–40. https://doi.org/10.5281/zenodo.32444.
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Creative work of Lesya Ukrainka become an important link in understanding the changes in the perception of the world, preserving a Dionysian and Apollonian poles from which grows the spiritual culture. Dionysian and Apollonian principles are seen as poles, which form the very spiritual culture and forced to pay attention to the continuity of the process of experiencing and understanding the most complex phenomena of reality and existence. from experience to designation the nature of phenomena — such a process usually raises awareness of what is going on within the collective and individual consciousness, causing their indissoluble unity. It is within the ancient mythology that has put the problem of the Dionysian and Apollonian, we find an attempt to distinguish them from the process of life. Simultaneously Dionysus and Apollo appear as bearers of a certain shape: Dionysus is the symbol of destruction, permanent establishment and a mixture of forms; Apollo is the symbol of balance, harmony, light. On Olympus these gods are mutually exclusive. There is no confrontation between them in the framework of the ancient tragedy, which primarily raises the problem of death as such that makes us look for the way of immortality beyond human being. In ancient mythology and ancient tragedy that occurs and is based on myths, can the origins of many of the philosophical insights of both the antiquity and the and subsequent eras. from antiquity originate through keynotes, philosophical anthropology that which is beyond human, time-limited existence is the existence of nature, the human spirit, the reality of the Universe, the existence of the gods. Thus, the Dionysian and Apollonian directly connected with the sacred, in its pagan dimension, when in the lives of people interfering gods, from whimsical which are crumbling hopes and dreams. Himself, Dionysus — son of Zeus and the mortal — this reveals the spontaneity, uncertainty being, while Apollo carries the idea of Concord and harmony, spreading it to the Universe. Note that contemporary culture is powered by both basis Apollonian and Dionysian, regretting the absence of equilibrium between them in the entire being and the way of reality.
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Victoroff, Tatiana. "Les masques du mystère grec : entre la vie et la représentation." Modernités Russes 15, no. 1 (2015): 275–88. http://dx.doi.org/10.3406/modru.2015.1039.
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The article deals with the enigmatic return of Greek mysteries in the culture of the Silver Age : Dionysos, god of the vine, ecstasy and theater, is incarnated on the Russian stage in spite of his nature being alien to Orthodox spirituality. The spectator is invited to plunge into secret ancient rites «reconstructed» by Russian playwrights according to Nietzsche and to their own aesthetic programs (Liturgy to Me of Fёdor Sologub, The Dionysian act of the present day of Nikolaj Vaškevič, Thamyris citharoede of Innokentij Anneskij). In accordance with the spirit of experimentation common to the Russian milieu, those ideas take flesh equally in life, making Vjačeslav Ivanov’s flat («Tower») in Saint-Petersburg a vast stage to perform masked Dionysian mysteries. Regardless of the chaotic forces escaping outwards, leading to personal tragedies, it seems that Dionysos responds to the highest aspirations of Russian culture in seeking an art free of ideological and moral bonds, collective and syncretic, capable of transforming the world here and now.
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Nie, Jiansong. "God Dwelling in the Clouds: The Dionysian Idea of the Triple Divine Darkness." Religions 16, no. 2 (2025): 233. https://doi.org/10.3390/rel16020233.
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The God on Mount Sinai is the most widely used figure in Christian Negative Theology, with Dionysius Areopagita being its most famous interpreter. As Denys Turner described in his work The Darkness of God, the Dionysian God dwelling in the darkness has an intimate relationship with the Sun in the “Cave Allegory” of Plato’s Republic. This paper clarifies the complex relationship between these two figures, which remains largely underexplored in Turner’s book. The Dionysian God has three kinds of divine darkness: the first one stems from the Neoplatonist Porphyrius, who reinterpreted the darkness of the Cave to defend a Platonic positive view of the material world; the second one is attributed to Church Father Origen, who applied the Platonic philosophy to re-interpret the God on Mount Sinai; and finally, the last divine darkness, inspired by the Life of Moses, written by Gregory of Nyssa, which reaches the ultimate negation of any light.
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Burkovičová, Radmila. "Subjectively Perceived Importance of Education by University Students at the Beginning of Their Studies." Revija za elementarno izobraževanje 15, no. 3 (2022): 377–92. http://dx.doi.org/10.18690/rei.15.3.377-392.2022.
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The article investigates students perception of the importance of education and its rationale at the beginning of their studies. Fifty-seven students from the bachelor’s programme Teacher Training for Kindergarten from 2018/2019 to 2021/2022 participated. The sampling was based on convenience. A qualitative approach was used through open verbal statements transcribed into a text. The individual importance of education to students at the beginning of the first semester and their personal justifications for the importance of education were identified, representing several categories. We found the following dimensions for the categories of the meaning of education (personal goal category) and personal definition of education (categories: association with context; from individual to society; on the background of historical development; personality development and evolution; essence; mode of acquisition; value; through the lens of the present; Dionysian conception; general overview; confused definitions).
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Alexandrescu, Vlad. "Time in Dimitrie Cantemir’s Sacro-sanctae Scientiae Indepingibilis Imago (1700)." Transylvanian Review 32, no. 3 (2024): 3–35. http://dx.doi.org/10.33993/tr.2023.3.01.
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Educated in Constantinople in the last decades of the 17th century, Dimitrie Cantemir (1673– 1723) encountered, on the one hand, the Paduan Aristotelianism transmitted by the Greek philo sophical teachers trained in Venice and Padua, and, on the other, was inspired by a Platonic, Neoplatonic and Pseudo-Dionysian tradition, still alive in Eastern Christian thought. Written after a thorough study of the work of J. B. van Helmont, his treatise on time echoes these mul tiple roots and proposes a conception of time which affirms the non-categoriality and neutrality of the notion of time, its continuous, uniform, immovable, non-successive, immiscible, immutable character, distributive in the singular time of each creature (according to the model of Platonic participation), its participation in eternity, the emanation of eternity from the divine Intellect, and the precedence of time over Creation
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Halliwell, Stephen. "JUSTIFYING THE WORLD AS AN AESTHETIC PHENOMENON." Cambridge Classical Journal 64 (July 24, 2018): 91–112. http://dx.doi.org/10.1017/s1750270518000064.
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This article scrutinises one of the most challenging theses of Nietzsche'sBirth of Tragedy, that only as an aesthetic phenomenon can existence and the world be (or appear to be) ‘justified’. Through a close examination of the work's frequently masked revaluation of a series of Greek sources of thinking, not least its ‘inversion’ of both the metaphysics and the aesthetics of Plato'sRepublic, the article shows how the thesis of aesthetic ‘justification’ is caught up in a tension between Apolline and Dionysian interpretations, the first entailing a quasi-Homeric sense that the Olympians justify human existence by living a transfigured form of it themselves, the second involving a tragic insight into reality as itself the creative work of a ‘world-artist’, the latter allusively associated by Nietzsche with the philosophy of Heraclitus.
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Valsecchi, Alessandro. "Essence et causalité dans le De Trinitate d’Augustin et le Periphyseon de Jean Scot Érigène." Chôra 21 (2023): 381–410. http://dx.doi.org/10.5840/chora2023/202421/2217.
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In his masterwork De Trinitate, Augustine claims there is no real difference between the notions of essentia and substantia, even if the former better express the unity of God and if the latter is more commonly used. Still, a useful philosophical distinction can be drawn from Augustine’s use of the two terms : since substantia may contain a possible conception of potentiality, Augustine prefers essentia to avoid any implication of multiplicity inside the Trinity. John Scottus Eriugena receives Augustine’s influence but elaborates on it through his work on some Greek fathers, notably Pseudo‑Dionysius the Areopagite, Gregory of Nyssa and Maximus the Confessor. In his dialogue Periphyseon, Eriugena merges Latin and Greek trinitarian vocabulary and doctrine ; according to him, causality is at the core of trinitarian relations, for even in the godhead, the Father is the only true anarkos, uncaused, the Son and the Holy Spirit being caused by him. This is particularly evident in the created image of the Trinity, i.e., the human soul. For the Irishman, the Augustinian gnoseological triad coincide with the Dionysian ontological triad. Through its trinitarian form, human mind is both capable of understanding God and manifesting his causal relation to created nature. Thus, Eriugena blends Augustine’s careful ontological distinction in a Greek neoplatonic triadic conception.
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Thorgeirsdottir, Sigridur. "Vom Krieg zur Liebe. Nietzsches Philosophieren über Männlichkeiten im Lichte von Gegenwartsdebatten." Nietzsche-Studien 49, no. 1 (2020): 52–70. http://dx.doi.org/10.1515/nietzstu-2020-0003.
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AbstractRecent discussions have connected Nietzsche’s philosophy of masculinity to the return of authoritarian politics. Neoconservative debates about masculinity, and right-wing extremism, explicitly refer back to Nietzsche’s philosophy and often present democratization, a feminization of society, and political correctness as responsible for a weakening of masculinity. One example for this reception of Nietzsche’s writings is Jordan Peterson’s psychological diagnosis of a presumed crisis of masculinity. This article undertakes a comparison of Nietzsche’s philosophy of masculinities with Peterson’s neo-Jungian psychology of masculinity in the context of recent conceptualizations of patriarchy, misogyny, and gendered forms of ressentiment. This comparison will highlight that Nietzsche’s conception of masculinity is more complex, and has philosophically more to offer, than neoconservative ideas about masculinity that onesidedly foreground male strength. Finally it will be pointed out how a Jungian analysis discloses aspects of the Dionysian that are of relevance to contemporary gender studies of Nietzsche’s philosophy.
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Bailey, Stephen. "Certainly Uncertain." Stance: an international undergraduate philosophy journal 4, no. 1 (2019): 15–26. http://dx.doi.org/10.33043/s.4.1.15-26.
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In this paper, I contrast pre- and post-Socratic Greek thought, particularly with respect to Apollonian optimism and Dionysian pessimism. I show how Socrates’ judgment of a “right” way of living undermined Greek pessimism and was the first step towards modern scientific optimism, the belief that the world can be understood. I then argue that new developments in quantum physics make this optimism untenable, and I finally assert that Nietzschean pessimism is a coherent and beneficial metaphysical perspective.
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Vorotnikova, Anna E. "Ekphrasis in the Poem «Snakecharmer» by S. Plath." Proceedings of Southern Federal University. Philology 2020, no. 4 (2020): 128–36. http://dx.doi.org/10.18522/1995-0640-2020-4-128-136.
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The article studies singularity of the ekphrasis in the poem «Snakecharmer» by the American poetess Sylvia Plath inspired by the same-name picture by the French painter Henri Rousseau. Plath gives new meanings to the painting and creates her own version of cosmogonic and eschatological myth entering into a dialogue and a contest with the previous cultural tradition. Verbally transformed Rousseau’s images manifest their multi-layered ambivalent character. The main character in the picture by H. Rousseau is depicted with masculine features in the poem. The gender metamorphosis happening to the Snakecharmer is analysed in the context of the whole writer’s biography of S. Plath. It is concluded that the central figure, symbolically embodying the idea of creativity as it is, has androgynal nature. The narrative structure of the poem is defined by the root principle of the ekphrastic conception of «Snakecharmer» – the principle of dialectical unity of polar beginnings: orderliness and chaos, the Apollonian statics and the Dionysian dynamics, scenic formalization and musical fluidity.
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Piskunov, S. "We E. Zamyatin, or the integrity of the mystery." Canadian-American Slavic Studies 45, no. 3-4 (2011): 289–306. http://dx.doi.org/10.1163/221023911x567588.
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AbstractThis essay attempts to analize Zamiatin's We as an aesthetic whole in which, pace Yuri Tynianov, antiutopia is organically combined with “a fantastic adventure novel.” With this aim in mind We is read not only in its literary context but also in a historical-poetologic perspective, ranging from Hellenistic love/adventure novels to Andrei Belyi's Silver Dove. Following in Belyi's footsteps, Zamiatin develops a Dionysian theme according to the interpretation proposed by Viacheslav Ivanov's interpretation (his conception of the divine unity of existence), making the myth of Dionysus the subject of an aesthetic experiment in the tradition of Mennipian satire. The author of We, to what extent the protagonist-narrator can be associated with his creator, is concerned with the fate of “the whole” not less than with the fate of individual. He is confronted with an unresolved conflict in terms of atheistic consciousness, bearing not only personal and socio-political consequences, but ontological as well.
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Rakovec, Ana. "Metamorphosis of Otherness and the Contemporary Slovenian Novel." Ars & Humanitas 18, no. 1 (2024): 69–82. http://dx.doi.org/10.4312/ars.18.1.69-82.
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The metamorphosis of otherness occurs under the influence of postmodern ethics and the changed perspective of the world even in contemporary novels. Therefore, I analyzed and interpreted this phenomenon in three contemporary novels: in the Slovenian novels Starec in jaz (TheOld Man and Me) (2017) by Sarival Sosič and Po celi ravnini pod nebom (Across the Whole Plain Under the Sky) (2022) by Jana Putrle Srdić, and in the Cuban novel Silencios (Tišine) (1999) by Karla Suarez. When explaining and connecting the concept of the Other and otherness, I relied on the understanding of the binary structure Absolute/Other, building on Nietzsche’s theory about the Apollonian and Dionysian poles of the once harmonious binary union. In the analyzed contemporary (Slovenian) novels, a new multi-perspective emerges, which, influenced by postmodern dynamics, bends and relativizes any binary entities. The analysis of the metamorphosis of otherness revealed that observed building blocks of binary motives (harmony/disharmony, Apollonian/Dionysian, culture/nature, heterosexuality/homosexuality) shake off established value signs by exposing their variability. The evolving attitude towards the entity of the Other, which no longer sees the world as a hierarchically arranged monolith, brings a multi-layeredness to contemporary novels both in terms of narrative and content. In the analyzed narratives, this is reflected in: the need for deeper literary empathy and tender narration; fusing of narrative perspectives and voices; the feeling of otherness towards both extreme spectral poles; longing for existential harmony or lost integrity; the representation of art as the last solid entity; constantly oscillating between the desire to withdraw and actively deal with the world, and the feeling of loneliness and the desire for solitude; the extension of binaries into modern triads. In the two Slovenian novels, the fluidity of sexual identity also comes to the fore, giving voice to forms of sexuality still unarticulated in Slovenian literature.
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Venuso, Maria. "Zorba's Dance in Lorca Massine's Dancing Expression." Congress on Research in Dance Conference Proceedings 2016 (2016): 425–30. http://dx.doi.org/10.1017/cor.2016.56.
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In Nikos Kazantzakis’ novel, Zorba the Greek, dance has a great importance. The transposition of the novel into a ballet by Lorca Massine (1987) simplified the novel's complexity, thus “rejuvenating” the ancient world described by Kazantzakis. The contrast of Apollonian vs. Dionysian is entrusted to the style of the protagonists. They propose the modern heritage of traditional Greece, imposing a new dance tradition (syrtaki), based on ancient and popular reminiscences—a new myth. This contribution aims to analyze how dance becomes expressed thus revealing of collective identity, in the transposition from the novel into a ballet through the movie.
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Kaminskaya, Yuliya V. "“My soul is a dusty library…”: Systematization and chaos as ways of organization of Konstantin Vaginov’s lyric texts." Tekst. Kniga. Knigoizdanie, no. 35 (2024): 19–34. http://dx.doi.org/10.17223/23062061/35/2.
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The article attempts to comprehend the genesis and development of the dichotomy of order and chaos in Konstantin Vaginov’s lyrics, establishes its relationship with the poet’s poetics of collecting and the bibliophilic practice. The focus is on the images of Apollo and Dionysus, reinterpreted in the Russian culture of modernism under the influence of Nietzsche’s aesthetic treatise The Birth of Tragedy from the Spirit of Music. As the article shows, many turn-of-the-century writers turned to the Nietzschean idea of two principles. For instance, Alexander Blok urged to listen to the music of the revolution, that is, he saw the future of Russia in the Dionysian beginning. Andrei Bely clearly distinguished two models of the worldview, but did not decide which of them - Apollonian or Dionysian -would be more suitable for the country. The article expresses and substantiates the idea that Vaginov proposed his own interpretation of Nietzsche’s concept. The material for the study was the writer’s poems, as well as ego-documents, memoirs of contemporaries, and archival data. On representative examples of motive-shaped rows of chaos and its ordering (crowd / herd / swarm, books / shelves / libraries, etc.), the aesthetics of systematization in Vaginov’s poems is considered; its development is outlined in the “poet’s prose”. Methodologically, the article is based on Aleida Assmann’s works on cultural memory, as well as on classical philological works on the history of Russian literature of the 1920s. The article shows that in Vaginov’s works Apollo is presented as a symbol of the culture of the past, of the orderly world. The lyrical hero tries to preserve antiquity by referring to books; respectively, shelves and libraries act as attributes of the organized space of the past. Images of a swarm / round dance / crowd, etc. are used to describe chaotic modernity, that is, they are typical for the Dionysian beginning. However, the contact of the lyrical hero with the culture of the ancient world is far from always marked as positive. In some poems, the meeting with Apollo (the past) gives strength to the lyrical subject; in others, making a sacrifice in the name of the resurrection of the previous culture, the lyrical hero dies or suffers, which does not make sense: the past is irreversible. So Vaginov poses the question of the advisability of referring to the world of the past and the possible consequences of such interaction. Another feature of the poetics and aesthetics of Vaginov’s works is the lack of a clear separation of the Apollonian and Dionysian beginnings. For example, in the poem “I vse zh ya ne zhivoy...” [And Yet I’m Not Alive...], the lyrical hero stands under the Apollo foliage and at the same time compares himself to Prometheus chained to the lyric rock, whose image, according to Nietzsche, is one of the masks of Dionysus. In the same way, the motifs of chaos and order merge: opening the book, the lyrical hero is faced with a round dance of words, sounds, images, which in one case leads to inspiration and in the other to the loss of his own “self”. It is concluded that Vaginov does not take a definite position regarding (a) the nature of the influence of the past on the lyrical hero and (b) the orderliness of the past. The author declares no conflicts of interests.
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Sobry, M. "Islamic Humanism Education for the World." JIIP - Jurnal Ilmiah Ilmu Pendidikan 5, no. 10 (2022): 4309–14. http://dx.doi.org/10.54371/jiip.v5i10.1026.
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In this article the author tries to describe Islamic humanism education/humanist education. This conception is an offer against the restlessness and anxiety of Human in the conception of Western education as well as the actual offer of Islam and scholars for education, people, and the world. The conception of Humanist Education is based on the study of Islamic epistemology, namely "revelation". "Revelation" occupies a position as one of the constructors of reality because revelation is recognized as "God's verses" those are able to provide guidance in one's thoughts and actions. Social change is an integral part of the conception of Islamic humanist education. The order of human life that is upheld is the creation of justice and equality (egalitarian). Education is actually a struggle to realize that life and order. The order expected by humans in the world today is world peace.
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Nikiforova, Viktoriia. "Conception of freedom in ancient world." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 77–83. http://dx.doi.org/10.34079/2226-3055-2020-13-23-77-83.
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The aim of the study is to research the correspondence and difference of ancient Greek authors FREEDOM conception. The subject of the article is the investigation of freedom category interpretation by ancient Greek writers. The object of the study is the works of ancient Greek writers, poets, philosophers, concerned with major issues of freedom conception. The academic novelty of the investigation is as follows: the most significant definitions of FREEDOM by ancient Greek authors were researched and recapped. It was examined that humans’ freedom and their cognitive activity are the significant issues of the conception determination of freedom. The term FREEDOM is different for every person that is why we cannot insist categorically that one idea is right and the other is wrong. In this case the idea of freedom disappears. Some philosophers consider that initially no Greek word ΕΛΕΥΘΕΡΙΑ, no Latin LIBERTAS didn’t have philosophical meanings. Ancient Greeks believed that destiny, fate, necessity run humans. The idea of Freedom emerged in Ancient Greece. The ancient Greeks were first, who began to consider the issue of freedom both in the political and philosophic senses of the word. They tried to create the first state institutions defended human freedom. This concept had a lot of meanings in ancient times: the domination of intellect over emotions, conscience control, responsibility for actions, independency, and privilege for life, right to manipulate slaves. The idea of “being free” appeared much earlier than the conception of “freedom”. According to Homer to be free for person means to have an opportunity to live on your dear land. Particularly in Homer’s poems we are able to find the generation of the human right choice idea. Herodotus was the first scientist who formed the social meaning of the word FREEDOM. The definition of FREEDOM as philosophical term was used by sophists for the first time ever. According to Socrates FREEDOM is a self-control, physical instincts control. Plato in his turn considers that humans have a right of choice, but their freedom is not absolute. The analysis of the philosophical views and approaches concerning freedom conception in antiquity is conducted to prove that that freedom was the most significant value of ancient world. Ancient philosophers emphasized the polis freedom, internal and external freedom (stoics), freedom as self-control (Socrates), freedom as material independency (Plato), freedom as permissiveness (cynics), freedom as capacity for good. Ancient Greek and Modern Greek lexicographical sources show both analogies and differences of language objectification of FREEDOM conception. We consider appropriate to analyze these analogies and differences of various discourse’s types as the further prospective of this theme investigation.
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Gajic, Aleksandar. "World crisis and world state in Jacques Attali’s conception." Zbornik Matice srpske za drustvene nauke, no. 153 (2015): 699–710. http://dx.doi.org/10.2298/zmsdn1553699g.
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Before the arise of the world economic crisis, contemporary concepts of World State creation had been based mainly on political and military-security reasons of global integration. They all emerged from ?Peace plans? of confederate consociation of national states primarily into the peace, and, then, supranational political organizations. All of the modern plans of World State that had originated in the ?Peace politics? of modern era were based on political and security arguments and offered political and institutional solutions, while their contemporary followers operated these ideas theoretically only in much different current circumstances. Only after the crisis had erupted, did new ideas and new concepts of the World State supporters emerge, suggesting how to handle the consequences of the crisis. As some national states have demonstrated incapacity to deal with it, new reasons for ?necessary? global institutional superstructure have appeared. The most important opinion on this matter was given by Jacques Attali, well known French economist, writer and high public official. This paper gives Attali?s philosophical and historical overview on world crisis as the first financial crisis of mondialization. Attali explains the inevitable historical pattern that anarchic mondialization has led to, which, he presumes, requires establishment on global level, what was previously done on the national level. Furthermore, he gives the description of a possible World State as a presumed result of balance between market and democratic forces that will lead into the establishment of new institutions on the basis of those already existing, global international organizations. All of these presumptions are exposed to criticism in the final section of the paper.
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Amiri, Imen. "« Connais-toi toi-même et tu connaîtras l'univers et les dieux », l’initiation dans Archaos ou le jardin étincelant de C. Rochefort." Topiques, études satoriennes 4 (January 26, 2021): 1–24. http://dx.doi.org/10.7202/1074726ar.
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Archaos ou le jardin étincelant by Cristiane Rochefort, is a post-May 68 utopia. The learning process prescribed in this novel parodies/mocks traditional coming-of-age novels: rules are not enacted by an exogenous mentor. Classical intellectual guides are ridiculed. The process of initiation is turned inward, toward the self, and is accomplished by way of sex education, the ultimate condition for access to power. Resolutely feminist, this novel reconsiders the world led by women. Archaos is the story of a Dionysian journey under the guise of a political utopia which calls for symbolic death and for an esoteric renaissance under the auspices of the goddess Isthar.
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Drew, Christopher. "To follow a rule: The construction of student subjectivities on classroom rules charts." Contemporary Issues in Early Childhood 21, no. 1 (2018): 46–57. http://dx.doi.org/10.1177/1463949118798207.
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Rules charts are commonplace on classroom walls throughout the world. This article examines how such charts work to sustain discursive power relationships among teachers and students by mobilising idealised notions of the student within the classroom. The article reports on a discourse analysis of 50 rules charts and identifies three disciplinary and subjectivising discourses mobilised by charts: the Apollonian ‘good’, Dionysian ‘bad’ and Athenian ‘choice-making’ student. The article argues that awareness of the constitutive effects of discourse can enable practitioners to reflect on how their discursive practices might have material impacts on students’ capacity to move through educational spaces, and in particular can work to marginalise already disenfranchised students who do not fit the normative mould.
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SEO, Kwang-Yul. "The Dionysian World-view and the Possibility of Community ― In the Case of Nietzsche and Maffesoli." Journal of the Daedong Philosophical Association 74 (March 31, 2016): 43–73. http://dx.doi.org/10.20539/deadong.2016.74.03.
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SEO, Kwang-Yul. "The Dionysian World-view and the Possibility of Community ― In the Case of Nietzsche and Maffesoli." Journal of the Daedong Philosophical Association 74 (March 31, 2016): 43–73. http://dx.doi.org/10.20539/deadong.2016.74.03.
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Cheah, Pheng. "World against Globe: Toward a Normative Conception of World Literature." New Literary History 45, no. 3 (2014): 303–29. http://dx.doi.org/10.1353/nlh.2014.0021.
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Inagaki, Kayoko, and Giyoo Hatano. "Young Children's Conception of the Biological World." Current Directions in Psychological Science 15, no. 4 (2006): 177–81. http://dx.doi.org/10.1111/j.1467-8721.2006.00431.x.
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Thorbjornsrid, Berit. "Quest for Conception." American Journal of Islam and Society 15, no. 2 (1998): 115–18. http://dx.doi.org/10.35632/ajis.v15i2.2182.
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Infertility is normally thought to be a problem for the rich, Western world,overpopulation the problem of the poor, Third World. But is this dichotomybuilt on empirical facts or on racial prejudices? Available statistics surprisinglyreveal an infertility belt from the Sudan and across Africa, where the problem incertain countries is extremely widespread. This and the AIDS epidemic threaten,according to Marcia lnhom, to depopulate large areas. In Egypt, official statisticsshow the infertility rate lo be 8%, a number Inborn regards as unrealisticallylow, but still it is eight times the number in Korea and Thailand. Despitesuch high figures, the focus in Egypt is only on hypofertility and family planning.Even so, the population is stilJ increasing due, says lnhom, to politicians'and health personnels' ignorance of the dialectic between fertility and infertility.lnhom goes a long way toward exposing the "overpopulation problem" as amyth. She takes as her starting point the U.N. declaration of human rights, whichasserts the right of all individuals to found a family, and transfers the focus tochildless Egyptians, which she claims is a muted group.Quest for Conception is the first comprehensive account of infertility in theThird World and represents a breakthrough in medical anthropology. Becausethis topic is highly gendered, the book also makes an important contribution togender studies. Her 100 childless informants from Alexandria are all poorMuslim women, and Quest for Conception can be read both as a study of povertyand of female Islamic practice.lnhom analyzes the extent of infertility, its causes and existing forms of treatment(both ethno- and biomedical), and potential reforms. Her material is basedon childless women's medical life stories-which often contain an astonishingvariety of treatments. In addition, she has followed them through 15 months ofdesperate search for children (1988-89). In all this time, only one(!) succeededin giving birth. The others presumably are continuing their restless search for thechild they need in order to realize their one and only career-motherhood. Thewomen's own experiences and emotional reactions, their subjective understandingof causes and different methods of treatment, and their strategies are centralto lnhom's very humane ethnography. But this micromaterial is continuously ...
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Arnold, Jonathan. "John Colet, preaching and reform at St. Paul's cathedral, 1505–19*." Historical Research 76, no. 194 (2003): 450–68. http://dx.doi.org/10.1111/1468-2281.00185.
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Abstract As a Christian humanist, Colet attempted clerical reform partly by means of preaching. Evidence from Colet's ecclesiastical life as dean of St. Paul's suggests that his success was limited by the inappropriate expression of his idealistic ecclesiology, which demanded perfection. Although Colet's passion for preaching was shared and admired by humanist colleagues, his sermons received negative reactions from his cathedral clergy, the bishop of London and Henry VIII. The intellectual basis for Colet's ecclesiology was a combination of Pauline theology and Dionysian spirituality, which created a vision of Church perfection by means of purification and illumination. However, Colet sought a spiritual and moral revival, not a fundamental change to the structure of the Catholic Church. Colet's humanist success was achieved mainly outside the ecclesiastical world.
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Vogt, Katja Maria. "The Stoic Conception of Law." Polis: The Journal for Ancient Greek and Roman Political Thought 38, no. 3 (2021): 557–72. http://dx.doi.org/10.1163/20512996-12340350.
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Abstract The Stoics identify the law with the active principle, which is corporeal, pervades the universe, individuates each part of the world, and causes all its movements. At the same time, the law is normative for all reasoners. The very same law shapes the movements of the cosmos and governs our actions. With this reconstruction of Stoic law, I depart from existing scholarship on whether Stoic law is a set of rules. The question of whether ethics involves a set of rules is rich and fascinating. In the 1970s and 80s, the observation that ancient ethics might do without rules was part of philosophy’s rediscovery of virtue ethics. This debate, however, neglects that Stoic law is a corporeal principle pervading the world. The key puzzle regarding Stoic law, I argue, is how it is possible that the very same law is a corporeal principle in the world and normative for us.
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Smaw, Eric. "From Chaos to Contractarianism." Essays in Philosophy 9, no. 2 (2008): 198–219. http://dx.doi.org/10.5840/eip2008922.
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In this paper, I argue that Louis Pojman fails to justify his conception of a moderate cosmopolitan world government. I illustrate this by highlighting the fact that Pojman fails to articulate adequate justifications for his Principle of Humanity (POH) and Principle of Equality (POE). This is problematic because the POH and POE ground his conception of human rights, which, in turn, grounds his conception of a moderate cosmopolitan world government. Hence, since he fails to justify the POH and the POE, I conclude that his conception of a cosmopolitan world government ultimately fails. But, before I launch this attack on Pojman, I offer substantial philosophical analyses of Hobbes's arguments for the state of nature, human rights, and the establishment of the commonwealth. I do so because Hobbes provides the philosophical basis for Pojman's philosophy of world government. I show that by understanding the philosophical problems inherent in Hobbes we gain better understanding of the philosophical problems at the basis of Pojman.
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Burzyńska, Katarzyna. "Shakespeare’s The Tempest Revisited: Nietzsche and the Myth of the New World." Studia Anglica Posnaniensia 54, no. 1 (2019): 219–47. http://dx.doi.org/10.2478/stap-2019-0011.
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AbstractThe Tempest is the only play in the Shakespearean canon that is open to a purely “Americanist” reading. Although Prospero’s island is located somewhere in the Mediterranean, numerous critics claimed that it deals with the New World (Hulme & Sherman 2000: 171). The paper revisits the existing interpretations, focusing on the turbulent relationship between Prospero and other inhabitants of the island: Caliban, Miranda, and Ariel. In the article I propose a rereading of their relation in the spirit of Friedrich Nietzsche’s perspectivism, utilising Nietzsche’s key philosophical concepts like the Apollonian/Dionysian elements and der Übermensch (the overman). In his vast canon, Nietzsche refers to Native Americans only once and in passing. However, his call for the revaluation of all values seems to be an apt point of departure for a discussion on early colonial relations. Nietzsche’s perspectivism enables to reread both the early colonial encounters and character relations on Shakespeare’s island. Hence, in an attempt at a “combined analysis”, the paper looks at Prospero as the potential overman and also offers a reading of the English source texts that document early encounters between the English and native inhabitants of North America (Walter Raleigh, Richard Hakluyt, Thomas Harriot, Robert Gray).
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Saghafi, Kas. "The World after the End of the World." Oxford Literary Review 39, no. 2 (2017): 265–76. http://dx.doi.org/10.3366/olr.2017.0225.
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In several late texts, Derrida meditated on Paul Celan's poem ‘Grosse, Glühende Wölbung’, in which the departure of the world is announced. Delving into the ‘origin’ and ‘history’ of the ‘conception’ of the world, this paper suggests that, for Derrida, the end of the world is determined by and from death—the death of the other. The death of the other marks, each and every time, the absolute end of the world.
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S. Rošker, Jana. "Editor’s Foreword." Asian Studies 7, no. 1 (2019): 5–9. http://dx.doi.org/10.4312/as.2019.7.1.5-9.
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This special issue of the journal Asian studies is dedicated to the Sinicization of Marxism as a paradigm for research on Marxist philosophy in contemporary China. There are several reasons for choosing this topic, and are by no means limited to the fact that just a few months ago, on May 5th 2018, we celebrated Karl Marx’s bicentenary. As far as Marx in our time is concerned, my impression is that over these two centuries he was maturing, a bit like a noble cheese or a vintage wine not appropriate for Dionysian parties or guzzling at the firing lines. Rather, he is a stimulating companion for profound thought about the meanings of modernity and especially of human emancipation, an issue which remains of significance for the contemporary world.
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Sánchez de León Serrano, José María. "The Death of the Heavens: Crescas and Spinoza on the Uniformity of the World." Anales del Seminario de Historia de la Filosofía 41, no. 1 (2024): 183–94. http://dx.doi.org/10.5209/ashf.88141.
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The paper examines the roles of Crescas and Spinoza in the transition from the medieval to the modern conception of the universe. Crescas is presented as an illustrative example of the tension between Aristotelianism and revealed religion and how the latter brings about the dissolution of the former, thus paving the way for the modern conception of the universe. It is then showed how this modern conception is embodied in Spinoza’s thought, which radicalizes some of its defining traits. This radicalization undermines the traditional conception of the Deus absconditus and leads in Spinoza to the replacement of religion by philosophy as the true divine revelation.
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Nielsen, Kai. "Perspectivism and The Absolute Conception of the World." Crítica (México D. F. En línea) 25, no. 74 (1993): 105–16. http://dx.doi.org/10.22201/iifs.18704905e.1993.899.
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La concepción absoluta del mundo consiste en una explicación del mundo que sería independiente en grado sumo de las peculiaridades humanas. Es una descripción ideal que podría usar cualquier observador incluso un ser no humano, capaz de investigar el mundo. Bernard Williams formuló esta concepción para derrotar todas las formas de perspectivismo, relativismo y antropocentrismo sin quedar en obligación con el realismo metafísico. Para cumplir con esto, la concepción está diseñada de tal modo que proporcione un contraste inteligible entre el mundo como es en sí mismo y el mundo como nos parece que es. Hilary Putnam y Richard Rorty han sostenido que semejante concepción del mundo es incoherente. No tenemos, ni podemos tener, ninguna concepción de la descripción del mundo única, singularmente verdadera. Williams intenta refutar esto, pero se alega que la respuesta de William a sus críticos no es válida. Sin embargo, también se argumenta que lo inevitable del perspectivismo no implica etnocentrismo ni parroquialismo, así como tampoco un rechazo de la distinción habermasiana entre discurso distorsionado y no distorsionado. [Traducción: Gabriela Montes de Oca V.]