Dionysian

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Dionysian

(in the philosophy of Nietzsche) of or relating to the set of creative qualities that encompasses spontaneity, irrationality, the rejection of discipline, etc.
References in periodicals archive ?
1) Nabais, in his Nietzsche and the Metaphysics of the Tragic, rightly suggests that Nietzsche's duality of the Apollonian and Dionysian is comparable to Kant's duality of the beautiful and the sublime and that Nietzsche's aesthetic idea of the tragic can be better understood when compared to the Kantian sublime.
It could be argued that by the time he published Culture and Anarchy in 1869 Arnold's thinking had simply moved on, that his interest in the opposition between the Apollonian and Dionysian had been supplanted by the need (practically more urgent in Victorian Britain) to negotiate the opposition between Hellenism and Hebraism, and that it is therefore unreasonable to import concerns from the earlier poem into a reading of the later work of criticism.
In this push and pull between a liberating and a restraining aesthetic, between a rejection of artificial conventions and an acceptance of guiding aesthetic principles, Wolfe presents himself as an artist aspiring toward a dialectic accommodation between the Apollonian and Dionysian artistic visions.
Despite serious reservations about White's supposed "genealogy of autonomy," his treatment of the synthesis of the Apollonian and Dionysian, the image of the tension between Dionysian "self-abandonment" and Apollonian "self-appropriation," is lucid, insightful, and persuasive.
The Apollonian and Dionysian coalesce to create the tragic story, with the Apollonian tendency represented by the dialogue and the Dionysian by the dithyrambic choruses.
Wagner identifies both Apollonian and Dionysian elements in Amfortas's Christian knighthood.
The book's most far-reaching essay is Diana Myers's 'Hellenism and Barbarism in Mandel'shtam': if the tension between Apollonian and Dionysian principles led to Mandel'shtam's best work, Symbolism's over-reliance on Nietzschean aesthetic 'barbarism', which may be summarized by Theophile Gautier's words 'plutot la barbarie que l'ennui', the most prophetic outcry of the nineteenth century' (George Steiner, In Bluebeard's Castle.
After the business meeting, Janice McCullagh moderated the final session of papers: "The Harmony of the Apollonian and Dionysian Aesthetics in Thomas Wolfe and the Visual Responses of Douglas W.
How might it be, for instance, if later-twentieth-century feminist theory were bypassed, and this body of work--with all its dangerous, unstable vitality and its contradictory Apollonian and Dionysian faces--rerouted directly through such theory's eminence grise, Friedrich Nietzsche?