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THERE ARE DECADES WHEN possibility is constrained in a narrow frame. The terrain has been surveyed, boundaries have been laid, and rules have been established. In such an age there is still room for high drama: The decisive round of a boxing match draws the eye despite the fact—or perhaps because—the boxers play an antique game. In such times and climes, victory means mastery of existing modes, not the invention of new ones. But nothing human is everlasting. Always there comes a day when spectators search for better games and settlers seek out fresher pastures. That day of change arrives with much confusion and fanfare. Sons dishonor their fathers. Daughters rise against their mothers. Ancestral ideals are cast aside, and possibility staggers forth from its long captivity, ready to wreak vengeance on mankind.
yesterday

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IN WESTERN PHILOSOPHY AND AESTHETICS a contrast is sometimes made between the Dionysian and the Apollonian. Made famous by Nietzsche, this schema was first used to describe the thought and art of Ancient Greece. On the Apollonian end we have all that is rational, intentional, structured, abstract, or well ordered; on the Dionysian side we find all that is passionate, instinctual, chaotic, sensual or protean. The Apollonian strain of western culture is associated with daylight, law, mathematics, sculpture, discipline, and the city; the Dionysian strain is associated with nightfall, violence, poetry, music, drunkenness, and nature. The Apollonian element is stereotypically male; the Dionysian element is stereotypically female. The Apollonian ideal is realized by the solitary philosopher solemn in thought. The model Dionysian is an ecstatic madman frenzied in a crowd.

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More in history

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Die Mondexpedition (1966)

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