Results for 'Apollonian'

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  1. Classical Form or Modern Scientific Rationalization? Nietzsche on the Drive to Ordered Thought as Apollonian Power and Socratic Pathology.Eli I. Lichtenstein - 2021 - Journal of Nietzsche Studies 52 (1):105-134.
    Nietzsche sometimes praises the drive to order—to simplify, organize, and draw clear boundaries—as expressive of a vital "classical" style, or an Apollonian artistic drive to calmly contemplate forms displaying "epic definiteness and clarity." But he also sometimes harshly criticizes order, as in the pathological dialectics or "logical schematism" that he associates paradigmatically with Socrates. I challenge a tradition that interprets Socratism as an especially one-sided expression of, or restricted form of attention to, the Apollonian: they are more radically (...)
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  2. Kantian and Nietzschean Aesthetics of Human Nature: A Comparison between the Beautiful/Sublime and Apollonian/Dionysian Dualities.Erman Kaplama - 2016 - Cosmos and History 12 (1):166-217.
    Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...)
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  3. Styles of thinking.Hub Zwart - 2021 - Berlin/Münster/Zürich: LIT Verlag.
    The way we experience, investigate and interact with reality changes drastically in the course of history. Do such changes occur gradually, or can we pinpoint radical turns, besides periods of relative stability? Building on Oswald Spengler, we zoom in on three styles in particular, namely Apollonian, Magian and Faustian thinking, guided by grounding ideas which can be summarised as follows: “Act in accordance with nature”, “Prepare yourself for the imminent dawn and “Existence equals will to power”. Finally, we reach (...)
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  4.  37
    Lo bello, lo sublime y lo profundo.Nolo Ruiz - 2020 - Estudios Nietzsche 20:175-196.
    In studying in depth Nietzsche’s description of Greek tragedy and Dionysian art, as well as flamenco art –both phenomenologically and hermeneutically–, enormous similarities appear. Especially between the characteristics of the fundamental aesthetic category of flamenco, lo jondo –the deep–, and the features of Dionysian art. What shows that, just as those of the beautiful and the sublime are the aesthetic categories of the Apollonian, the aesthetic category of Dionysian art is the deep.
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  5. The Greco-Egyptian origins of western myths and philosophy.Louise Muller - 2018 - In Pius Mosima (ed.), Papers in Intercultural Philosophy and Transcontinental Comparative Studies. pp. 251-281.
    Every person is equipped with both the Dionysian or life force soul (in Greek Eros), and the Apollonian or death force soul (in GreekThanatos). Dionysus was a Greek fertility god from c. 580 BCE associated with wine, music, and choral dance (Csapso 2016). In Attic art, Dionysus was often depicted as a slumping god on a ship, which had a vineover laden with grapes as a mast, surrounded by a sea with a pod of dolphins; the dolphins being the (...)
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  6. Nietzsche's Ethics of Affirmation.Tom Stern - 2019 - In The New Cambridge Companion to Nietzsche. New York: Cambridge University Press. pp. 351-373.
    This chapter looks at Nietzsche's notion of the affirmation of life. It begins with the origins of the concept in Schopenhauer and in the Schopenhauerian philosophy known to Nietzsche. It then examines affirmation in three phases of Nietzsche's writing: early, middle and late. It relates affirmation to other key Nietzschean concepts like the Apollonian and the Dionysian, eternal recurrence, amor fati and will to power.
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  7. The Horror Versus L’Indagatore dell’Incubo. The Dionysian, Irrational, and Absurd in Dylan Dog’s Narrative.Marco Favaro - 2023 - In Subashish Bhattacharjee & Fernando Gabriel Pagnoni Berns (eds.), Horror and Philosophy. Essays on Their Intersection in Film, Television and Literature. Jefferson, North Carolina: McFarland & Company. pp. 237-249.
    Dylan Dog, l’Indagatore dell’Incubo (the nightmare investigator), lives and works at 7 Craven Road in London. The comic book character is English, but he was created in Italy by Tiziano Sclavi in 1986, and it is still published today monthly. Dylan had enormous success, not only in Italy but worldwide. His job is to investigate, together with his assistant, Groucho, the paranormal, the irrational, the nightmare that can assume different forms and aspects. Dylan fights against all types of monsters: vampires, (...)
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  8. El arte del bien vivir: sabiduría epicúrea, felicidad y posmodernidad.Joaquín Riera Ginestar - 2022 - [Córdoba]: Almuzara.
    It is undeniable that human beings seek happiness and have difficulty finding it. This is not a new phenomenon: ever since ancient times man has wondered about what happiness is, where it lies and how to achieve it. For the Greeks, a people of deep pessimism, the search for happiness (eudaimonia) was a traditional theme of philosophy and it was precisely in Greece where Epicurus ́ (341-270 BC) doctrine of happiness emerged. A cursed and manipulated author (just like his admirer (...)
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  9. Lo s-terminato esistere. La co-appartenenza di apollineo e dionisiaco da una prospettiva infra-heideggeriana.Gianmaria Avellino - 2023 - I Castelli di Yale Online 11 (2):132-152.
    This paper explores the deep philosophical affinities between Martin Heidegger and Friedrich Nietzsche, focusing on their shared understanding of the Apollonian and Dionysian dichotomy and its implications for the essence of human existence. The analysis begins by examining Nietzsche's concept of the unity of the Apollonian and Dionysian as a fundamental aspect of human identity, despite Nietzsche's own unawareness of its metaphysical significance. Heidegger, in turn, recognizes this insight as an epochal breakthrough in Nietzsche's thought, surpassing the boundaries (...)
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