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Greek tragedy is currently being performed more frequently than at any time since classical antiquity. This book is the first to address the fundamental question, why has there been so much Greek tragedy in the theatres, opera houses and cinemas of the last three decades? A detailed chronological appendix of production information and lavish illustrations supplement the fourteen essays by an interdisciplinary team of specialists from the worlds of classics, theatre studies, and the professional theatre. They relate the recent appeal of Greek tragedy to social trends, political developments, aesthetic and performative developments, and the intellectual currents of the last three decades, especially multiculturalism, post-colonialism, feminism, post-structuralism, revisions of psychoanalytical models, and secularization.
Many playwrights, authors, poets and historians have used images, metaphors and references to and from Greek tragedy, myth and epic to describe the African experience in the New World. The complex relationship between ancient Greek tragedy and modern African American theatre is primarily rooted in America, where the connection between ancient Greece and ancient Africa is explored and debated the most. The different ways in which Greek tragedy has been used by playwrights, directors and others to represent and define African American history and identity are explored in this work. Two models are offered for an Afro-Greek connection: Black Orpheus, in which the Greek connection is metaphorical, expressing the African in terms of the European; and Black Athena, in which ancient Greek culture is "reclaimed" as part of an Afrocentric tradition. African American adaptations of Greek tragedy on the continuum of these two models are then discussed, and plays by Peter Sellars, Adrienne Kennedy, Lee Breuer, Rita Dove, Jim Magnuson, Ernest Ferlita, Steve Carter, Silas Jones, Rhodessa Jones and Derek Walcott are analyzed. The concepts of colorblind and nontraditional casting and how such practices can shape the reception and meaning of Greek tragedy in modern American productions are also covered.
"This study of Dionysus . . . is also a new theogony of Early Greece." —Publishers Weekly "An original analysis . . . of the spiritual significance of the Greek myth and cult of Dionysus." —Theology Digest
On September 23 and 24, 2011, a group of scholars and practitioners from different fields and parts of the world assembled at the Greek Cultural Foundation in Berlin to discuss aspects of Terzopoulos'theatre related to its Dionysian qualities. Scholars of theatre studies, classical studies, psychoanalysis, psycho- and neurolinguistics met with writers, dramaturges, directors, and actors to share their views on the particularity of Terzopoulos' theatre. The symposium was held in his honor. With contributions from: Etel Adnan | Konstantinos I. Arvanitakis | Penelope Chatzidimitriou | Alexander Chepurov | Freddy Decreus | Matthias Dreyer | Erika Fischer-Lichte | Gonia Jarema | Kerem Karaboga | Frank M. Raddatz | Georgios Sampatakakis | Savvas Stroumpos | Dimitris Tsatsoulis | David Wiles
The internationally renowned Jungian analyst Lopez-Pedraza diagnoses the psychological illness at the core of modern society--the loss of embodied soulfulness in people's lives. In this study of the Greek god Dionysus, he offers insight for a cure. This book may be worth several years in psychotherapy, if one takes its message to heart. Dismemberment and cannibalism, Prometheus and Titanic nature, mystical experience, the communal aspect of Dionysiac worship, jazz, flamenco, and bullfighting are among the many twists and turns taken in this essay that wends its way through issues of the body and emotion to open hidden doors for psychotherapy and to cast new light on post-modern humanity.
Presents important accounts of Nietzsche's philosophy. The author shows how Nietzsche began a new way of thinking which breaks with the dialectic as a method and escapes the confines of philosophy itself.
The Cult of Dionysus is strongly associated with satyrs, centaurs, and sileni, and its characteristic symbols are the bull, the serpent, tigers/leopards, the ivy, and the wine. The Dionysia and Lenaia festivals in Athens were dedicated to Dionysus, as well as the Phallic processions. Initiates worshipped him in the Dionysian Mysteries, which were comparable to and linked with the Orphic Mysteries, and may have influenced Gnosticism.
This book argues that The Birth of Tragedy, Nietzsche's first book, does not mark a rupture with his prior philosophical undertakings but is, in fact, continuous with them and with his later writings as well. It shows that many of the book's elements are reminiscent of Nietzsche's earlier revisions of philology and anticipate the later writings.
Women and Dionysus links repression of the Dionysian spirit in Western culture with the rise of the patriarchy over the course of two millennia. It effectively draws aconnection between Dionysus and women throughout history, with examples from cultures both past and present, and the author’s own experiences. Maggy Anthony explores Dionysus’ role as god of the vine, creativity and passion, and his impact on art and literature. The book examines the Dionysian influence on creative older women, including Georgia O’Keeffe, Martha Graham and Marguerite Duras; examines Dionysus in mythology, history and religion; and considers connections to mysticism and the Renaissance. Anthony goes on to explore how women’s expressions of creativity through healing, wine-drinking and dancing were condemned in history, and how modern African and Latin American rites contrast with Western traditions. Finally, the book looks at ‘outbreaks’ of modern Dionysian spirit - from Haight-Ashbury to the Burning Man festival - and speculates on its future. This unique study will be essential reading for academics and scholars of Jungian and post-Jungian studies, and for analytical and depth psychologists, particularly those with an interest in female individuation, creativity, and spirituality.