Mann's reworking of the Faust myth in relation to the Apollo/Dionysus dichotomy and the concept of Dionysian
music is palpable in Leverkuhn's music.
Therefore, Gradiva stands for several symbols at once: an image of a Dionysian
procession and all the implications related to this ritual, as the figure of a mysterious woman/maiden that fascinates Jensen's character, as a fabulous being able to incarnate herself and come to life in the present from a distant past (although this possibility is precluded by the revelation that it was in fact Norbert Hanold's childhood friend whom he had been seeing), the symbol who fascinated artists and philosophers.
But in his epic verse drama and later symbolist plays, there seems to be an obvious tension between what one might call Apollonian and Dionysian
elements that deserves exploration even if a certain critical tact may be needed.
However, these highly sensitive topics are explored subtly; the desires are neither explicitly described nor acted on, instead they function as a narrative subtext, disclosed through imagery and Dionysian
symbolism, through the representation of the boys and their effect on the protagonists, and by the seemingly innocuous act of voyeurism.
Nietzsche on Tragedy: The Dionysian
Here, I will also discuss whether or not it is adequate to consider the feeling of the sublime as a product of human rationality and morality contrary to the picture of human life presented in Nietzsche's Dionysian
So a Dionysian
ceremony, made of papier mache, a little wit and some glitter, was refreshing.
The solution to this problem that Daniels develops, rightly, is that the Apollonian and the Dionysian
are understood more broadly than in Schopenhauer as all at once forces, forms of art, states of consciousness, and overall moods.
Opening this act was a group of paintings by the Nazarenes, that brotherhood of mostly Catholic artists who, between 1809 and 1829, advocated a "patriotic and religious" art, here labeled "Political Primitivism." In another gallery, a wall of Romantic cathedrals (by Caspar David Friedrich, Johann Anton Ramboux, etc.) went head-to-head with a wall of Greek temples (by Friedrich, Leo von Klenze, etc.), all brought together under the title "The Cathedral, Between Reverie and Political Utopia." The retroactive use of the conceptual dyad elaborated by Nietzsche was shown to be inadequate: Was one to understand Friedrich's Greek temples as "Apollonian" and his cathedrals as "Dionysian
," or perhaps the other way around?
Tel Aviv is the Dionysian
counterpart to religious Jerusalem.
Nevertheless, while these inveterate troublemakers may have been an utter nightmare to hoteliers everywhere - Lord know how many mini-bars were pillaged as a result of their dionysian
merry-making - the world was a little bit brighter for them having been in it.