On the Centrality of Dionysus in Nietzsche’s Philosophy

Despite the widespread influence of Nietzsche’s iconoclastic works on twentieth-century intellectual and literary culture, there has been a surprising lack of academic focus on the parallels between his philosophical trajectory and the anthropological literature on the mysterious god Dionysus. The striking correlations between ancient Dionysian worship with Nietzsche’s oeuvre revalorise the celebration of ecstasy. In Twilight of the Idols, he states that the Dionysian is “beyond pity and terror, to realize in oneself the eternal joy of becoming.” By elucidating some of the mysteries surrounding this enigmatic god, this article aims to re-establish the central importance of Dionysus in Nietzsche’s work, and to suggest that if we are to understand Nietzsche at all, we must first undertake an anthropological reading of Dionysus.     

Culture and Truth: Nietzsche and Classical Philology

Several recent studies have returned to the famous controversy over the reception of Nietzsche’s Birth of Tragedy from the Spirit of Music (1872). By reinterpreting it within the immediate context of Germany in the early 1870s, James Whitman understands this controversy as a Methodenstreit within Classical Philology and James I. Porter claims that, through this controversy, Nietzsche developed an extensive critique of modern culture. I contend that Nietzsche’s reaction to the scholarly rejection of his first publication resulted in no immediate response on his behalf; rather, it led to three years of intense rethinking and strengthening of the position he took in The Birth of Tragedy. This is evidenced in his early published essays and notebooks of 1872–1875. From the first readers of these early notebooks, Karl Schlechta and Anni Anders, to its most recent interpreters, Richard T. Grey and Alexander Nehamas, these scholars are unanimous in understanding them as Nietzsche’s attempt to work through a number of conventional philosophical problems. I argue that Nietzsche developed in these essays and notebooks a type of criticism that broke away from all traditional philosophical problems and creatively introduced such notions as cultural horizon, background phenomena, and life as a philosophical measure — all of which would be further refined in his mature texts of the 1880s and underpin his innovative concepts of the will to power and eternal recurrence.     

Francesco Patrizi’s concept of “nature”: presence and refutation of Stoicism

ABSTRACT

This essay analyzes the ways in which, in his Nova de Universis Philosophia, Francesco Patrizi uses, adopts, and, in some cases, rejects the Stoic philosophical tradition. Although, at first glance, most of Patrizi’s remarks on Stoicism and Stoic understanding of nature are critical – as this article demonstrates – he widely relied on Stoic teaching that he sought to combine with Neoplatonism and the prisca theologia doctrine.     

Myth,perspective, and affirmation in Nietzsche’s Birth of Tragedy

While the Apollonian and Dionysian in Nietzsche’s Birth of Tragedy are often understood as a rehashing of Schopenhauerian metaphysics, recent accounts have shown that his use of these concepts is at odds with such a metaphysics, interpreting them instead as myths. I follow this insight that Nietzsche is engaging in mythmaking in BT, but I argue that proponents of this view have missed an important dimension of that mythmaking: that Nietzsche presents multiple narratives of Apollo and Dionysus from different perspectives, each of which offers different senses of tragic affirmation. This perspectival feature of BT sheds light on the more formal ‘perspectivism’ articulated in the Third Essay of On the Genealogy of Morals, as Nietzsche uses perspective in both cases to generate an epistemic alternative to the life-denying features of modern science. Thus, the metaphysical discussions of the early Nietzsche are inseparable from the development of a stylistic practice that constitutes a radical rejection of metaphysics for the later Nietzsche, and this style is part of a project of generating a more life-affirming approach to knowledge.     

“A beacon-light to the oppressed of every land”: James Connolly and the work of the working-class intellectual

Abstract

This article seeks to defend James Connolly from attacks on both the Left and Right, particularly the charge that his legacy is nationalist delusion and fanaticism. The article argues that Connolly’s politics and his engagement with Irish cultural politics demonstrate his commitment to human equality as both a right, but also a principle of human intelligence. The article addresses Connolly’s status as a working-class intellectual with reference to how he challenges conventional hierarchies between the philosophers of Marxism and the proletarians who are the object of those deliberations. The article argues that from Connolly’s thought and activism an anti-colonial Marxism emerges which might help explain the neo-imperialist world we find ourselves in today and provide a critique lacking in the collapsed teleological versions of orthodox Marxism. The relations between his Marxism and nationalism are explored, as are his play Under Which Flag? his poetry and songs.     

Cultural Materiality and Spiritual Alienation

Abstract

This article takes its point of departure in Phillip Blond’s Christian criticism of secular materialisms and the failure of modern thought to appreciate the true materiality of creation. He challenges secular thought and returns to a combination of Greek and Christian Trinitarian thought, in order to reach for a new ground for political theology. Blond’s Christian ontological claims are contested, but an aspect of them is brought into the context of cultural creation and related to questions of the spiritual dimension of cultural arte-facts in a secular setting. Against the background of Friedrich Nietzsche’s struggle with the difficulty of singling out a pure secular culture from the old and (in his view) stifling religious heritage in society and culture, this article suggests that a radical notion of human intentional (but finite) creation, analogous to Blond’s idea of God’s infinite creative intention, may be helpful for a construction of a materialistic critical theory about contingent spiritual obstacles to political change.     

Rousseau's argument for property

Camille Desmoulins's Le Vieux Cordelier is one of the best known newspapers of the French Revolution. Yet, despite this, there has long been uncertainty over the intellectual content of the newspaper and, in particular, over Desmoulins's use of Tacitean passages to support his views. This article seeks to shed light on this important newspaper by setting it not just in the context of the debates of the winter of 1793–1794, but also in that of the ideas and arguments of the Cordelier Club. The article demonstrates that in drawing on English republican ideas in Le Vieux Cordelier, to assert classical democratic republicanism against the views upheld by the Hébertists and the Revolutionary Government, Desmoulins was writing firmly in the tradition of the Cordelier Club.     

Anatomy of the Superman: Gabriele D’Annunzio’s Response to Nietzsche

This essay explores D’Annunzio’s reception of Nietzsche—particularly his sociopolitical theory and idea of the Übermensch—as dramatized in his novel Le Vergini delle rocce (The Maidens of the Rocks). D’Annunzio’s attitude towards Nietzsche was complicated and contradictory, varying from fascination and rivalry to rejection and negation: rather than a philosopher or master, he saw Nietzsche as a poet and soulmate. Like many writers and artists of fin-de-siècle Europe, D’Annunzio too was attracted by Nietzsche’s elitist social theory and Übermensch, of which he presents his own version especially in Maidens of the Rocks. In the novel, the young aristocrat Claudio Cantelmo aspires to overcome himself. However, the fact that Cantelmo fails to achieve his dream of fathering a New King of Rome, reveals D’Annunzio’s deep skepticism about contemporary Italy as well as his own “decadent” soul.     

Law,Principle, and the Theologico-Political History of Sovereignty

Abstract

This article takes it cue from the debate between Carl Schmitt and Erik Peterson regarding the possibility of political theology within Christianity, and in response, offers a conceptual-historical portrait of sovereignty and its juridical dimensions. Beginning with the introduction of Roman law into the medieval Church, the article traces the logic of “legal principle” as the basis of sovereign decision and how the form of legal distinctions adopted into canon law translate the Romanitas of law into the theory of papal sovereignty. By the Romanitas of law, that is to say the principle of sovereignty in law. The article then seeks to describe the conceptual translations of Roman politics and Stoic metaphysics into theological form and the logic of this translation into medieval natural law. The article concludes by evaluating how the civic theology of Rome is conceptually inherited by the politics and legal framework of sovereignty and returns to Peterson’s critique of Schmitt, arguing that political theology can be understood as a dynamic where politics is theologized, assuming that in the history of religion, theology and politics are never fully distinct to begin with.     

Forms of secularism and multiculturalism: Charles Taylor and Ireland

This article seeks to frame the work of the Canadian political philosopher Charles Taylor in terms of its significance for Irish culture. Taylor came to wide prominence for his work on multiculturalism, but the varying ways he understands this term are especially important for Ireland. “Multiculturalism 1” speaks to the kinds of difficulties between nationalist and Unionist communities in Northern Ireland. “Multiculturalism 2” speaks to the more widely understood meaning of the term, which is connected to a cultural diversity that is often born of immigration. Taylor has had a strong role in the emergence of the term “interculturalism” to describe a form of cultural diversity that explicitly seeks to balance the needs of minority and majority cultures, and in Canada and Quebec that term has taken on a different understanding than the one that is common in Ireland. That work on interculturalism also strongly underwrites Taylor’s work on secularism, and he traces that social phenomenon in ways with clear relevance for Ireland. Although Taylor’s explicit engagement with Ireland is rare, it is clearly time to bring his work into the mainstream of studies of Irish culture.     

Popular Italian cinema,the media,and the economic miracle: rethinking commedia all’italiana

This article seeks to reposition the popular cinematic genre commedia all’italiana within the context of the rapid expansion of the media industries which accompanied Italy's postwar economic miracle. The article looks at three distinct aspects of the relationship between commedia all’italiana and other media. First, it outlines the important role played by the media during the boom in disseminating images of consumer lifestyles, and highlights the way in which commedia all’italiana participated in this process. Second, through a discussion of media appearances by Vittorio Gassman and Nino Manfredi, the article emphasises the extent to which their commedia all’italiana star personas were constructed and circulated in a multimedia context. Finally, it examines how the genre represented other media, focusing in particular on the representation of gender in advertising scenes. Through close readings of commedia all’italiana advertising scenes, the article notes points of continuity with and difference from advertising imagery that was circulating at the time. The article argues that in order to further our understanding of commedia all’italiana and its relationship to Italian society, it is essential to understand the genre's relationship to other media production of the period, which both influenced the comedies’ representations and was influenced by them in turn.     

Anxious householders: theft and anti-usury discourse in Shakespeare’s Venetian plays

Usury occupies a centrality in early modern culture that no mere professional practice, however innovative or controversial, could have occupied. As recent scholarship has shown, the reason has to do with the fact that, in the final analysis, usury constitutes a mental disposition, a worldview. This article seeks to refine our understanding of the psychological phenomenon of usury by examining its troubled relationship with theft as enacted in Shakespeare’s Venetian plays. Both The Merchant of Venice and Othello link the usurious mindset to an anxious sense of dispossession: Shylock is represented as a householder whose paranoid concern with burglars has not been sufficiently emphasised; usurious Iago is revealed to act on a compulsive need to instil into his victims, most notably Othello, an equally irrational fear of theft. The article argues that the emergent monetary economy is thus associated with a nightmarish dread of deprivation that is shown to destabilise the domestic space of the oikos.     

In search of a spiritus: Francesco Patrizi on tides

ABSTRACT

This article analyzes two chapters of Francesco Patrizi’s Nova de universis philosophia that deal with a topic widely debated in European intellectual circles at the time: the origin of tides. By deconstructing Patrizi’s views on the phenomenon of ebb and flow, this paper places these chapters of Patrizi’s opus magnum into a larger context and shows how, with the use of novel philosophical arguments, he sought to replace what he considered an outdated theory of tides.     

Deep hanging out in the arts: an anthropological approach to capturing cultural value

This article presents the findings of an Arts and Humanities Research Council (AHRC) funded project carried out from September 2013 to March 2014 by five researchers at the University of Leeds (UK), who paired off with five audience-participants and engaged in a process of ‘deep hanging out’ at events curated as part of Leeds’ annual LoveArts festival. As part of AHRC’s Cultural Value project, the overarching aim of the research was to produce a rich, polyvocal, evocative and complex account of cultural value by co-investigating arts engagement with audience–participants. Findings suggested that both the methods and purpose of knowing about cultural value impact significantly on any exploration of cultural experience. Fieldwork culminated in the apparent paradox that we know, and yet still don’t seem to know, the value and impact of the arts. Protracted discussions with the participants suggested that this paradox stemmed from a misplaced focus on knowledge; that instead of striving to understand and rationalize the value of the arts, we should instead aim to feel and experience it. During a process of deep hanging out, our participants revealed the limitations of language in capturing the value of the arts, yet confirmed perceptions of the arts as a vehicle for developing self-identity and -expression and for living a better life. These findings suggest that the Cultural Value debate needs to be reframed from what is currently an interminable epistemological obsession (that seeks to prove and evidence the value of culture) into a more complex phenomenological question, which asks how people experience the arts and culture and why people want to understand its value. This in turn implies a re-conceptualization of the relationships between artists or arts organisations and their publics, based on a more relational form of engagement and on a more anthropological approach to capturing and co-creating cultural value.     

“The Joy of Normal Living” as the Promise of Happiness for Japanese Women and their Families

“The Joy of Normal Living” is at once the motto and the ideology of Kurihara Harumi, Japan’s best-known charisma housewife and icon of domesticity. This article looks at the relationship between “normal living” and the promise of happiness, as formulated in postwar Japan. Beginning with the government’s promotion, in the early postwar period, of the idea of akarui seikatsu (bright new life) as related to the typical suburban middle-class family of salaryman husband and full-time housewife, the article goes on to look at the cultural idea of “being happy as a woman” in contemporary Japan. Based on in-depth interviews with full-time housewives, and an analysis of popular women’s magazines, this article seeks to decipher what constitutes the idea of happiness for these women and for their generation.     

BodiesTouchingBodies: Jenny Saville's over-life-sized paintings and the ‘morpho-logics’ of fat,female bodies

Recent work in geography on materiality and embodiment has drawn attention to the ways that the varied materials of bodies, their capacities to leak and flow, to grow and shrink and endure and disappear, are central to an understanding of the spatialities of bodily experience. This article seeks to contribute to this work by considering how bodies touch themselves, or what I have termed ‘intra-body touching’, through an interrogation of two over-life-sized paintings (Branded and Propped) by the artist Jenny Saville. Her paintings present the topographies of a female fleshy body through detailed observations of bodily surfaces and orifices which include breasts hanging, hands grabbing and fat rolling and pressing upon itself. In drawing upon Luce Irigaray's critical engagement with Merleau-Ponty's account of hands touching, the article seeks to utilise her notion of the mucous for highlighting the ‘morpho-logics’ of sexed and sized bodies as they are produced through the example of intra-body touching. A focus upon the embodied spatialities of intra-body touching challenges accounts of the female body that centre upon women being located in a position of estrangement and distance from its varied materialities. Instead it will suggest that Saville's bodies are centred upon distinctly geographical relations of proximity and intimacy in ways which surprise and challenge our understandings of what a fleshy body can do.     

A Decadence Baedeker: D’Annunzio’s The Triumph of Death

This article investigates how Gabriele D’Annunzio’s The Triumph of Death brings together Nietzsche’s ideas and Wagner’s music and interweaves them with the motifs of literary Decadence and the author’s own particular sexual politics. The novel is an experimental text striving to be a Gesemtkunstswerk, an integrated work that incorporates music, painting, poetry, regional folklore, and private thoughts about personal and national power. I discuss the novel’s themes of violent sexuality and the anxiety of powerlessness and explore their implications for the fascist political aesthetics in which D’Annunzio played a pioneering role.     

One River,Two Ukraines? Yurii Andrukhovych’s Imagined Geography of East-Central Europe

This article discusses the role that the Dnipro River (formerly Dnieper River) plays in the discursive construction of Yurii Andrukhovych’s idea of East-Central Europe. In his essays ‘Like Fishes in Water’ (Yak ryby u vodi. 29 richkovykh pisen’, 2004) and ‘Atlas. Meditations’ (Atlas. Medytatsiyi, 2005), the author chooses to emphasize the Dnipro’s function as a border between two distinct regions of Ukraine. In his portrayal, the right bank (the western part of Ukraine) seems culturally traditional, whereas the left bank (the eastern part of Ukraine) appears to be uncultivated, proletarian, nomadic and generally an area of wilderness. The author concludes: ‘At least in the context involving this specific map the two Ukraines are divided’. Is this a hidden ideologization or a new mythologization of the Dnipro? Certainly, the conceptualization of the river transcends its mere physical dimensions and provides the landscape with a symbolic function. Andrukhovych’s essay volumes Disorientation on Location (Dezoriyentatsiya na mistsevosti, 1999), The Devil’s Hiding in the Cheese (Dyyavol khovayet’sya v syri, 2006) and The Lexicon of Intimate Cities (Leksykon intymnykh mist, 2016) provide additional insights into this imagined geography. The research presented in this article discusses Andrukhovych’s ideas with reference to the concept of ‘Two Ukraines’ by Mykola Riabchuk and ‘The Clash of Civilizations’ by Samuel Huntington. Central European discourse, post-colonial studies and geopoetical theory complement the discussion and enable its integration into a larger context.