Студопедия — Task for Practice seminar №3
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Task for Practice seminar №3






Ex. 1 What is Nietzsche’s Apollo and Dionysus opposition?

In constructing a new framework in which to understand aesthetics and culture, Nietzsche introduces Apollo and Dionysus as emblems of the " opposition" which gives rise to aesthetic expression in Western culture. These gods signify " two drives" within the human being that exhibit " measured limitation" (the Apollonian), in which we distinguish ourselves from the apparent empirical events /entities that confront us in our day-to-day ordered and controllable experience, and the corresponding demise of that limitation (the Dionysian), wherein the recognition between self and world (or other) dissolves. In the Dionysian, there is " freedom." It exhibits a force that erupts from nature itself, in which " nature's artistic drives attain their first, immediate satisfaction." The Dionysian re-unites humanity with nature by destroying excessive inhibitions of restraint and regulation, allowing the human being productive contact with its unbridled desires. Such utopian expressions of amoral ecstasy define the young Nietzsche's ideal.

In Dionysus, one finds the disordered flux and excess of human revelry, best illustrated in intoxication. Dionysus is the god of music and merriment, that quintessential non-discursive, non-representational artistic expression. When united with myth-as it is in the chorus of Attic Greek tragedy or revelry of Bacchic dithyramb – the Dionysian leads to the dissolution of individual identity within a mystical community of humanity and cosmos Nietzsche terms " primordial unity." Neither the Apollonian nor the Dionysian has " regard for the individual, " for both are powers arising from nature with, or without, the " mediation of any human artist." As a part of nature, of an immanently closed being, the human being gives a determinate form to the Dionysian and Apollonian states of nature. Nietzsche invokes a pseudo-historical account of when the Apollonian Greek first confronted the Dionysian Greek (the evolved product of the Dionysian barbarian) as a way of legitimizing the Dionysian's natural and inherent reality. Here, the Apollonian Greek felt the nagging familiarity of the Dionysian through " an astonishment enlarged by the added horror... that the Dionysian was not so foreign to him after all, indeed that his Apollonian consciousness only hid the Dionysian world from him like a veil." Despite his distaste for Euripides, this account relays Nietzsche's close relation to the account set forth in the Bacchae, thereby lending support to the claim that the particular Dionysian revelry of this tragedy (intoxication, orgies, feasting, violence), is illustrative of the unbridled activity leading one to primordial unity…

The tragic is what finds expression in the Dionysian myth and music of Greek tragedy and the hymnic dithyramb. For Nietzsche, the dramatic performance of Attic tragedy, the amalgam of its music and myths, gives expression to the unbridled Dionysian tension with Apollonian order. Through participation in the performance, we behold the tragic, feel it, embrace it. It provides some determinate form of the hidden primordial unity wherein the tragic whispers: a form for the formless. When this rite is polluted with the presence of Socratic Reason, as in Euripides, the disintegration of its profundity is secured for, " it is certain that the first effect which the Socratic drive aimed to achieve was the disintegration of Dionysian tragedy." Socratic logic cannot allow for the paradoxical nature of the tragic that Nietzsche presents.

Nietzsche sees in the Dionysian anthropological (even cosmological) impulse human salvation from modernity. The Dionysian is meant to free humanity from modernity's rational scientific-Socratic-essence, allowing it to experience ecstatic union with the primordially common experience of the tragic. This freedom is both brought about by, and exhibited in, the performance of dramatic rite-Greek tragedy and (more specifically and applicably) Bacchic dithyramb. In this way, the impulse within humanity that rebels against restraint liberates the human person in granting him a kind of cosmic cultic identity, defines (even if paradoxically so) the tragic, and manifests itself in the non-discursive ritual performance.

 

Ex.2 What is Titanic according to Florensky’s analysis?

In " Mysteries and Rites, " a Russian philosopher, Pavel Florensky presents an anthropology that is, like Nietzsche's, composed of two forces. In contrast with Nietzsche, however, Florensky considers this anthropology to be meaningless apart from the " basic concepts of patristic theology." He speaks of certain " elemental principles" in the human being; one of which, the Titanic, dominates the attention of " Mysteries and Rites: "

This principle is the beginning of dissolution. It has been called a Dionysian principle. I prefer to call it more precisely, or at least less ambiguously, a titanic principle. " Titanic" meaning that which has grown from the earth; the Titans were the offspring of Gaea, the earth. What has grown from the earth is an emanation, an outpouring of its essence. Hence it is impersonal. It hungers eternally, presses eternally, rebels eternally.

Florensky's Titanic is imbedded within the greater dualistic scheme that he locates in patristic theology. In its essence, the Titanic " is pressure and struggle against limits, " in particular, the limits of Nomos. In similarity with Nietzsche's Apollonian, the principle of Nomos counteracts the Titanic which in turn intensifies a yearning for the boundless as it is manifested in aesthetic ritual expression. In contrast with Nietzsche, however, Florensky's dual principles are analogously related to a host of other anthropological dualities, the totality of which spans anthropological, epistemological, metaphysical, and theological dimensions. While in God there is harmony between these polarities, fallen finite humanity lacks such fortune. Both principles require an infinite manifestation, and so their harmony cannot be realized in any mutual restriction. Rather, it is through a " mutual acknowledgment of their unconditional truth" that is only realizable when " they have exhausted their infinite potential within their own absolute limits." In an aesthetic magnificence that dims Nietzsche's paradigm (wherein the Apollonian and Dionysian only have their mutual struggle to look forward to in a cosmos of immanent closure), Florensky affords the Titanic and Nomos their respective teloi in the transcendent God.

In his attempt to address the fragmented individual of modernity, Florensky posits cult as the necessary condition for self-awareness; what an individual takes to be the truth of being is apparent in the network of meaning bestowed to the individual via the cult from which he derives his existence. Modernity has forgotten that culture always already has its basis in cult. For Florensky, " every culture is a purposeful and strongly bound system of means for realizing and disclosing certain values taken as basic and unconditional; that is, it serves a certain object of faith." The primordial sphere of cult is where mere conditions are elevated to norms, for it is only in this sphere that the individual possesses originary meaning. Like Nietzschean primordial unity, Florenskyan cult is the realm of true and potential transfiguration. Yet, whereas for Nietzsche order is transfigured into disorder, self identity into no-self identity, and sacred into profane, Florensky’s cult transfigures profane into sacred, accidental into purposeful, subjective into objective, and human into Divine. In this way, cult nurtures the Titanic force, just as Nietzsche's primordial unity fosters Dionysian experience (despite their aesthetically significant ethical polarity).

It is in rite that Florensky sees the transcendent content of cult made tangible. Florensky considers Orthodox liturgical praxis to be the conduit through which cult manifests the entire spectrum of human experience. In rite, the " tools" of cult manifest themselves in their antinomic essence, as simultaneously both sacred and profane. The very essence of symbol is revealed in cultic rite. Rite provides the field in which symbol is fully manifest; where one discovers a givenness that is greater than itself, presencing in itself that which is not itself, that which is greater than itself while yet antinomically remaining itself. The symbol is an essence, the energy of which is commingled with the energy of another essence more worthy in a given respect, and which thereby carries this other essence in itself. The symbolic nature of rite is perceived aesthetically, since formal logic and pure inductive reasoning fail to appropriate the depth of antinomic apprehension. Whereas the Dionysian flight of sensual revelry leads " up and away into the air above, " where one " feels himself to be a god" moving in the ecstasy and sublimity of the heathen standard, liturgical flight leads yet further: to the transcendent world of antinomic resolution symbolically made manifest in the rite of cult. Such rite informs human everydayness with an aesthetic sensitivity that is re-inforced by Truth (a-letheia as disclosed through nous) and Goodness. It is here that Florensky 's Orthodoxy succinctly surpasses Nietzsche's Dionysianism. For while Nietzsche must convince us that Truth and Goodness are illusions brought on by a Socratic culture, Florensky secures their givenness by delineating their equi-primordiality in the cult's network of meaning and practice.

In sum, Florensky sees salvation from modernity in Orthodox cult as it expresses itself in liturgical rite. Like Nietzsche's scheme, it frees us from modernity's rational scientific bias, but does so, in contrast to Nietzsche, by locating the exhaustion of the impulses of the Titanic and Nomos in Divine " is-ness" and meaning. In this way, cult provides the living expression of meaning which informs the givenness of the tragic and the Titanic impulse. For Florensky, it is Orthodox liturgical praxis that not only best reveals, but best instantiates, the aesthetic experience of symbol in human existence where both immanent and transcendent existence is affirmed through the means of antinomic symbol. (Excerpts from an article by Joseph E. Steineger IV “Cult, Rite, and the Tragic: Appropriating Nietzsche's Dionysian with Florensky’s Titanic” // Theandros, Vol.3, no. 3, Spring/Summer 2006)







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