Apollonian

The overtly Nietzschean aspect of Mann's use of myth is a response to Nietzsche's elaboration of the Apollonian and Dionysian as forces observable in art and nature.

The publication was named after the Greek god of poetry, truth, prophecy, healing, light, and the sun--a fitting symbol of the society's universal vision as well as Alaily's Apollonian verse.

The world alternates between Apollonian and Dionysian moments, and the last few years have certainly been the latter: upheaval, breaking with the past.

At the same time, the disembodied, Apollonian perspective of a world viewed from on high, which had long been afforded by traditional paper maps, has been increasingly--albeit only recently--usurped by the more physically grounded, subjective, everyday experience of using the GPS technologies embedded in our mobile phones and SatNav devices.

It paid off: With Apollonian lines and bravura reserves of technique, the young dancer is now a versatile first soloist with St.

Though the Apollonian has its place in Nietzschean thinking, the Dionysian cannot finally be resisted, and Kornhaber goes on to chart Nietzsche's disillusionment with virtually all aspects of modern theatre in the central section of his study.

The Apollonian traditionally represents order, logic, clarity, individuation, separation and sculpture, and is exemplified by the realm of dream.

Ofelia, again, appears as the figure who defeats the apparent division between fantasy and reality by taking from both the Apollonian and the Dionysian: she intersects between the Fauno, as the untamed Dionysian element, and her mother, a symbol Apollonian civility.

Their topics include gods wise and foolish: Euripides and Greek literature from Homer to Plutarch, wisdom through experience: Theseus and Adrastus in Euripides' Suppliant Women, the Delphic school of government: Apollonian wisdom and Athenian folly in Euripides' Ion, the language of wisdom in Sophocles' Philoktetes and Euripides' Bacchae, and the leopard-skin of Heracles: traditional wisdom and untraditional madness in a Ghanaian Alcestis.

In his earliest book, The Birth of Tragedy (1872), Nietzsche describes all of human existence as a tension between two opposed, cosmic principles which he calls the Apollonian and the Dionysian.

While the busts themselves hint at a Western sculptural tradition of an Apollonian order, Weitz presented them as objects touched by a disorderly Dionysian force.

There is yet another aspect of the Dionysian that clearly indicates Nietzsche's use of it as an aesthetic category symbolizing all aforementioned qualities: its opposing and complementary relation to the category of the form-giving and beautifying Apollonian.