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 (...) disparate. Beyond strengthening the case for this basic point, I develop a distinctive account of what, exactly, distinguishes the Apollonian-classical and Socratic forms of order. To this end, I advance interrelated interpretations of Apollonian-classical simplicity and the "cold" calm that it elicits, by contrast to superficially similar Socratic phenomena. This illuminates Nietzsche's broader ambivalence toward science, in part by clarifying the nature and value of an idealized Apollonian science. (shrink)

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 (...) dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)

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 (...) the present. How to characterise the new era we entered round the year 2000? (shrink)

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 (...) of traditional meta-physics. The discussion further explores the role of Hölderlin as a crucial figure in both Nietzsche's and Heidegger's philosophical trajectories. It argues that in the co-appropriation of the Apollonian and Dionysian and the concept of Ereignis (the Event), both philosophers reveal a profound engagement with the interplay of foundation and abyss. This interplay, according to Heidegger, constitutes the historical-epochal opening of being and provides a perspective for understanding the essence of Dasein as the Ek-sistence (existential being). The paper challenges Heidegger's reductionist interpretation of Nietzsche as merely the completion of metaphysics and suggests a closer affinity between Nietzsche and Hölderlin. It concludes by emphasizing the transformative potential of embracing the interplay of the Apollonian and Dionysian and the reevaluation of human essence based on existence, which enables a new understanding of the world and its inherent mysteries. (shrink)

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.

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 (...) Nietzsche), Epicurus has probably been the thinker who has most lucidly approached the question of eudaimonia. Its doctrine seeks and promises its followers happiness through pleasure (hedoné), self-sufficiency (autarky), friendship (philía) and mental calm (ataraxia), offering itself as medicine against the pain of flesh and the sufferings of the mind. But Epicurean hedonism, which harmonizes well with the ancient Apollonian maxim that wisdom consists of moderation and the knowledge of limits, is totally removed from both the tyranny of the happycracy and from the noxious culture of unrestrained and vacuous desire of contemporary postmodernity. This is precisely why Epicurus's timeless proposal for authentic happiness deserves to be known for everyone: for constituting an effective therapy against the ills that afflict the nihilistic human being of the neoliberal era. (shrink)

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 (...) rescuers of sailors (life force) (Carpenter 1990). Dionysus, who was resurrected from death, repre- sented hedonism, happiness, and the good life that he celebrated with a glass of wine. His half-brother Apollo was in many respects his polar opposite. Apollo was a cerebral god associated with the sun, light, and intellectual pursuit. Dio- nysus symbolized the ability of (wo) man to submerge him- or herself in a greater whole, the ecstatic, and the chaotic emotions. Apollo, on the contrary, symbolised his or her formally rational and reasoning mind. The Dionysian and Apollonian natural forces are complementary and one needs both to be a balanced person; one needed to be capable of creating form and struc- ture as well as being passionate and vital. Brown believed that a utopian society would primarily consist of such balanced persons who are at home in both the world of rationality and logic and of symbols and emotions. (shrink)

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, (...) zombies, werewolves, witches, even against Death itself. However, the horror that he faces is not always paranormal. The monsters are often extremely human. Maybe that is the reason why Dylan remains extremely skeptical and rational. Everything in Dylan Dog’s world revolves around the absurd, the chaos without explanation, without sense, and the need to find meaning in it. This chaos can take different forms: the horror that Dylan fights, but also the satirical and nonsense humor of Groucho. This irrational dimension manifests itself also through Dylan’s love and sexual life: in almost every story, Dylan falls in love with a different woman, who usually will die or will break his heart. Love and sex are strongly connected with horror and death in Dylan Dog’s narrative: they are irrational forces, from which it is not possible to escape. The purpose of this essay is to analyze the irrational and fearful dimension in Dylan Dog: l’orrore, as he calls it, but also its connection to sexuality and the comic relief provided by Groucho. This chaotic and monstrous reality will be analyzed mainly—but not only—through the Nietzschean concepts of Apollonian and Dionysian related to the concept of absurd as described by Albert Camus. In this frame, the analysis of René Girard’s Violence and the Sacred will also be helpful. Violence is an irrational and uncontrollable force, and its manifestation is tightly linked with the horror and the monstrous reality that it unveils. (shrink)