Apollonian and Dionysian

Apollonian and Dionysian

This article focuses on some of the characters of Euripides' Bacchae using a queer, philologically founded, analisys approach. Our starting hypothesis is that the family relationships between some characters of the tragedy correspond to a symbolic genealogy, that connects some different episodes of ancient Greek mythology, creating a unique, coherent meaning. So, three characters of the tragedy – Actaeon, Pentheus and Dionysus – will be analyzed as different models of masculinity: two of them (Atteone and Penteo) are “loser” men, for different reasons, while Dionysus appears to be a winner, but his model of masculinity is absolutely heretical, eccentric, basically not virile and, in the last instance, queer.

In the period between the two revolts of the Jews of Palestine against Roman rule some non-Jews sought to identify the God of the Jews with their own god of wine, Dionysus or Liber. The actual evidence suggests three things. The cult of the Temple at Jerusalem was seen by outsiders to be characterised by an association with, and the use of, wine, an impression Jews did nothing to counteract. Second, outsiders acted on this impression, both as part of the cognitive step of identifying the God of the Jews with Dionysus, and, possibly, making gifts to the Temple, while it stood, of wine-related dedications. Third, this was a characterisation Jews were willing to embrace themselves, even at times of revolt. It should be emphasised that there is no evidence for any change in actual Temple practice. The wine libations, presumably, were poured as prescribed with their sacrifices, and nobody drank of the libations, least of all the priests.

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In some of the examples which I have cited to establish the meaning of the term ‘neck’ as applied to the last sheaf, the corn-spirit appears in animal form as a gander, a goat, a hare, a cat, and a fox. This introduces us to a new aspect of the corn-spirit, which we must now examine. By doing so we shall not only have fresh examples of killing the god, but may hope also to clear up some points which remain obscure in the myths and worship of Adonis, Attis, Osiris, Dionysus, Demeter, and Virbius.

Chairing: A Polonian or Apollonian Counsel

The Theatre of Dionysus Eleuthereus in Athens: New Data and Observations on its ‘Lycurgan’ Phase

Deification as <i>creatio ex nihilo</i>. On Luther’s appreciation of Dionysian spirituality in <i>Operationes in Psalmos</i>

The Character and Cults of Dionysus and the Unity of the Frogs

One of the works that close the golden age of the Attic tragedy, Euripides’ Bacchae , has been studied by scholars interested in showing how tragic theatre derives from religious ritual. Among others, Cambridge Ritualists and Karl Kerenyi saw in the sacrifice of Pentheus/Dionysus the mise-en-scene of the primary homicide that founds both the ritual sacrifice and the order of tragic representation. The true subject of Euripides’ tragedy is nevertheless violence, whose religious legitimitation comes before the political system. The sense of the “Theban anomaly” – that can later be seen in the events involving the Labdacides and Oedipus – lies in this legitimation of the violence that founds the political system. In the mortal combat between Pentheus, the regent, and Dionysus, the demigod whose birth is directly related to the vicissitudes of the family that reigns in Thebes, the conflict between religion and politics comes to light. That conflict recalls the myth of the foundation of the town. Thebes is founded by Cadmus, who, after killing the dragon, sows his teeth. From these rise the Spartoi, violent warriors that, immediately after coming to life, kill each other. As witnessed by Pentheus and Oedipus, the violence of the origins extends to the following events of the town. From this point of view the Bacchae can be of great importance to understand the connection between religion, violence and politics. This connection doesn’t escape Nietzsche’s notice. In aphorism 472 ( Religion and government ) of Human, All-Too-Human , a small but meaningful hint to the background of Euripides’s tragedy can be found.

Satyrs as Women and Maenads as Men: Transvestites and Transgression in Dionysian Worship

Dionysus in Theory and Practice

O presente artigo traz considerações sobre a Máscara do Bufão. Coloca esta em relação com um universo sensível, numinoso, xamanico e mítico e estabelece conexões com Dionísio, Exu e Sátiro. Buscando sublinhar as potências de incorporação dos princípios grotescos, carnavalescos e ritualísticos desta Máscara.

Ｉｎｔｒｏｄｕｃｔｉｏｎ Ｔｈｅ Ｒｅｓｕｒｒｅｃｔｉｏｎ ｏｆ Ｄｉｏｎｙｓｕｓ ｉｎ ｔｈｅ Ｍｏｄｅｒｎ Ｗｏｒｌｄ １ Ｍｏｄｅｒｎ Ｉｎｔｅｒｐｒｅｔａｉｏｎｓ ｏｆ ｔｈｅ Ｄｉｏｎｙｓｕｓ Ｍｙｔｈ ２ Ｅｓｓｅｎｔｉａｌ Ｆｒａｃｔｏｒｓ ｏｆ ｔｈｅ Ｄｉｏｎｙｓｕｓ Ｍｙｔｈ ３ Ｅｕｒｉｐｉｄｅｓ’ Ｐｏｅｔｉｃｓ ｏｆ Ｘｅｎｏｉ ４ Ｅａｒｌｙ Ｓｔａｇｅｓ ｏｆ Ｍｏｄｅｒｎ Ｄｉｏｎｙｓｉａｃ Ｔｈｅａｔｅｒ ５ Ｓａｌｏｍｅ：Ｏｓｃａｒ Ｗｉｌｄｅ’ｓ Ｄｉｏｎｙｓｉａｃ Ｐｏｅｔｉｃｓ ｏｆ ｔｈｅ Ｖｏｉｄ ６ Ｇ．Ｂ．Ｓｈａｗ’ｓ Ｆｏｕｎｄｌｉｎｇｓ，ｔｈｅ Ｄｉｏｎｙｓｉａｃ Ｘｅｎｏｉ ７ Ｔ．Ｓ．Ｅｌｉｏｔ’ｓ Ｐｏｅｔｉｃｓ ｏｆ Ｍｅｔｏｉｋｏｉ ８ Ｅｕｇｅｎｅ Ｏ’Ｎｅｉｌｌ’ｓ Ｄｉｏｎｙｓｉａｃ Ｐｏｅｔｉｃｓ ９ Ｃｈａｒｌｉｅ Ｃｈａｐｌｉｎ’ｓ Ｐｏｅｔｉｃｓ ｏｆ Ｂａｒｂａｒｏｓｔｏｍｉａ Ｃｏｎｃｌｕｓｉｏｎ Ｗｏｒｋｓ Ｃｉｔｅｄ Ａｐｐｅｎｄｉｘ（チャップリンのメタ記号論：バルバロイの詩学；『ライムライト』におけるディオニューソス神話の要素；Ｄａｎｃｅｓ ｏｆ Ｚｏ¨ｅ：概説）

Preface Introduction Dionysus Dionysus Domesticated The Devil The Devil's Descendants The Boy Rosalind Epilogue: Purged from Barbarism Appendix: A Rosalind to Love Works Cited Index