As one of the most significant critical essays of T.S.Eliot,Tradition and Individual Talent has defined writing as a process during which the primitive oneness has seized the individual writer of figurative descriptio...As one of the most significant critical essays of T.S.Eliot,Tradition and Individual Talent has defined writing as a process during which the primitive oneness has seized the individual writer of figurative descriptions to help represent itself.This theory has latter been practiced in Eliot’s Wasteland,and shows its similarity with The Birth of Tragedy,written by Friedrick Nietzsche,the German philosopher.Eliot’s‘tradition’has been concluded by Nietzsche as‘Dionysian Spirit’,which represents oneness transcending good and evil,past and present,while‘individual talent’has resembled‘Apollonian Spirit’in the urge for original figuration as an apparatus.The paper aims to explain and compare the definitions of‘tradition’and‘individual talent’of Eliot’s work with that of‘Dionysian spirit’and‘Apollonian Spirit’in Nietzsche’s illustrations,so as to provide a deeper understanding of these two works by unveiling the individual and social sameness and difference of Eliot and Nietzsche.展开更多
This paper argues that Nietzsche＇s view of tragedy as involving the Apollinian and the Dionysian may explain the appeal of the popular film Black Swan. The basis for this argument rests on Nietzsche＇s innovation in ...This paper argues that Nietzsche＇s view of tragedy as involving the Apollinian and the Dionysian may explain the appeal of the popular film Black Swan. The basis for this argument rests on Nietzsche＇s innovation in The Birth of Tragedy, namely, his emphasis on spectacle. Nietzsche argues for a collective experience, where the ego is abandoned in a renewed and shared sense of life. Black Swan provides a spectacle outside the confines of high culture and philosophical categories, where destructive and bestial nature is presented in an illusory and safe way for the audience. From a Nietzschean perspective, tragedy and Black Swan achieve this effacement of the ego through the aesthetic marriage of clarity and confusion, ugliness and beauty, music and image, inducing an experience in the audience that goes beyond moral judgment. This Nietzschean prism provides a case for the film＇s artistic merits where traditional conceptions of aesthetics and morality arguably fail to provide insight.展开更多
Wine in the West and China,as the core of wine culture,has been playing an important role in people’s social life.This paper analyzes wine culture on the basis of the previous researches through wine poetry,which is ...Wine in the West and China,as the core of wine culture,has been playing an important role in people’s social life.This paper analyzes wine culture on the basis of the previous researches through wine poetry,which is the result of the convergence of wine culture and Romantic poetry.On one hand,it is known that“intoxication”is the essence of wine culture:People seek freedom and independent personality in a drunk state.On the other hand,subjectivity,individuality,and self-awareness,as the features of Romanticism,share some ideological similarities with the essence of wine culture.What’s more,wine poetry,as a special category of romantic poetry,is found to present these features to a great degree.With the similarities and features mentioned above as the foundation of further study,this paper intends to make a comparative study of the wine culture in China and the West by analyzing wine poetry.Finally,the author further demonstrates the previous researchers’conclusion of Chinese“Winebibber Spirit”and the Western“Dionysian Spirit.”Meanwhile,this paper discusses the deeper reasons for the differences,and suggests that further understanding of wine culture in China and the West can promote intercultural communication.展开更多
In his Commentary on Plato＇s Phaedo, Damascius establishes a close relation between destination （lexis）, divine Justice, and life dignity （kat＇aian） of every soul. Among several meanings of destination, the most...In his Commentary on Plato＇s Phaedo, Damascius establishes a close relation between destination （lexis）, divine Justice, and life dignity （kat＇aian） of every soul. Among several meanings of destination, the most relevant one is related to the condition of the soul after death. Consequently, the purpose of this paper is to consider how this neoplatonic term is conceived in Dionysius Areopagite. For that purpose, the author will analyze such term widely used in the chapter 7 of Ecclesiastic Hierarchy in which Dionysius deals with the funerary rite and in which the notes of the dionysian eschatology are found. In other words, Dionysius＇ use of this term combines a spiritual and a metaphysic perspective. The former is part of the representation of the dionysian universe in which even the angels receive the name of lexeis and are distinguished by their never ending movement around the Thearchia; the latter is present among humans as a call to imitate such angelic condition. Such imitation is not possible without the effort needed to behave in agreement with an honorable lifestyle （kat＇axian, neoplatonic expression also used by Dionysius） that opens the door to a condition or rank granted to man after death.展开更多
文摘As one of the most significant critical essays of T.S.Eliot,Tradition and Individual Talent has defined writing as a process during which the primitive oneness has seized the individual writer of figurative descriptions to help represent itself.This theory has latter been practiced in Eliot’s Wasteland,and shows its similarity with The Birth of Tragedy,written by Friedrick Nietzsche,the German philosopher.Eliot’s‘tradition’has been concluded by Nietzsche as‘Dionysian Spirit’,which represents oneness transcending good and evil,past and present,while‘individual talent’has resembled‘Apollonian Spirit’in the urge for original figuration as an apparatus.The paper aims to explain and compare the definitions of‘tradition’and‘individual talent’of Eliot’s work with that of‘Dionysian spirit’and‘Apollonian Spirit’in Nietzsche’s illustrations,so as to provide a deeper understanding of these two works by unveiling the individual and social sameness and difference of Eliot and Nietzsche.
文摘This paper argues that Nietzsche＇s view of tragedy as involving the Apollinian and the Dionysian may explain the appeal of the popular film Black Swan. The basis for this argument rests on Nietzsche＇s innovation in The Birth of Tragedy, namely, his emphasis on spectacle. Nietzsche argues for a collective experience, where the ego is abandoned in a renewed and shared sense of life. Black Swan provides a spectacle outside the confines of high culture and philosophical categories, where destructive and bestial nature is presented in an illusory and safe way for the audience. From a Nietzschean perspective, tragedy and Black Swan achieve this effacement of the ego through the aesthetic marriage of clarity and confusion, ugliness and beauty, music and image, inducing an experience in the audience that goes beyond moral judgment. This Nietzschean prism provides a case for the film＇s artistic merits where traditional conceptions of aesthetics and morality arguably fail to provide insight.
文摘Wine in the West and China,as the core of wine culture,has been playing an important role in people’s social life.This paper analyzes wine culture on the basis of the previous researches through wine poetry,which is the result of the convergence of wine culture and Romantic poetry.On one hand,it is known that“intoxication”is the essence of wine culture:People seek freedom and independent personality in a drunk state.On the other hand,subjectivity,individuality,and self-awareness,as the features of Romanticism,share some ideological similarities with the essence of wine culture.What’s more,wine poetry,as a special category of romantic poetry,is found to present these features to a great degree.With the similarities and features mentioned above as the foundation of further study,this paper intends to make a comparative study of the wine culture in China and the West by analyzing wine poetry.Finally,the author further demonstrates the previous researchers’conclusion of Chinese“Winebibber Spirit”and the Western“Dionysian Spirit.”Meanwhile,this paper discusses the deeper reasons for the differences,and suggests that further understanding of wine culture in China and the West can promote intercultural communication.
文摘In his Commentary on Plato＇s Phaedo, Damascius establishes a close relation between destination （lexis）, divine Justice, and life dignity （kat＇aian） of every soul. Among several meanings of destination, the most relevant one is related to the condition of the soul after death. Consequently, the purpose of this paper is to consider how this neoplatonic term is conceived in Dionysius Areopagite. For that purpose, the author will analyze such term widely used in the chapter 7 of Ecclesiastic Hierarchy in which Dionysius deals with the funerary rite and in which the notes of the dionysian eschatology are found. In other words, Dionysius＇ use of this term combines a spiritual and a metaphysic perspective. The former is part of the representation of the dionysian universe in which even the angels receive the name of lexeis and are distinguished by their never ending movement around the Thearchia; the latter is present among humans as a call to imitate such angelic condition. Such imitation is not possible without the effort needed to behave in agreement with an honorable lifestyle （kat＇axian, neoplatonic expression also used by Dionysius） that opens the door to a condition or rank granted to man after death.
