Apollonian and Dionysian

his credibility as he could be citing a random person or a person who is not necessarily a good source. In addition to this, Salter goes on to use a false analogy. He compares the “disaster” to Kazantzakis observation that the Apollonian crust had been broken and the Dionysian had poured forth. This is clearly a false analogy because a loss of appreciation in literature is not equivalent to the rational crust of the modern world has broken and chaos has poured…

“classical Greco-Roman allusions serve as guides and signifiers as related to Nietzsche’s work on aesthetics in The Birth of Tragedy” (239). Sizemore relates the Apollonian god evident in Aschenbach’s character as a foil to the Dionysian god-like Tadzio, whom he becomes obsessed with. In this way, Aschenbach feels compelled to succumb to his Dionysian tendencies, and urges of repressed fantasy (235). Aschenbach struggles to maintain “prudence and sobriety,” yet longs for reckless abandon.…

The most apparent discussion is the relationship between Gilgamesh and Enkidu, as argued by Tzvi Abusch, “the genre is a romance”. (Abusch 364) “The center is the heroic quest, which divides into an Apollonian phase and a Dionysian phase. The first phase includes both the romance interest in the birth and youth of the young hero (the education of Enkidu) and the battle with Humbaba, the agon”. (Abusch 364) After the introduction of Enkidu, the tale takes a turn…

When I was reading Nietzsche’s comparison of the Apollion and Dionysian orders I felt a connection to the way these two opposites, the order and structure and the emotional, the ability to just enjoy life. These elements had to collide to create artwork that represented the human condition. I have found that through my process there are also these two opposites at play when constructing my artwork. Not only do these opposites form the artwork in the most complete way but they also connect with…

Abstract: Girish Karnad has given the traditional tale a new meaning and significance highly relevant in the context of life today. He seems to have used myth with a view to expose the absurdity of life with all its elemental passions and conflicts, and also to show man’s eternal struggle to achieve perfection. Karnad, in his plays, tries to evolve a symbolic form out of tension between the archetypal and mythic experience and a living response to life and its values. The new dimension and…