Dionysian Principle Research Articles

THE GREEK MYTH IN AFRO-BRAZILIAN CULTURAL SPACE (STUDYING THE FILM “BLACK ORPHEUS” DIRECTED BY M. CAMUS)

The article focuses on the study of the peculiarities of interpretation of Greek myth in the Afro-Brazilian cultural space using the material of the film “Black Orpheus” directed by M. Camus, based on the play “Orfeu da Conceição” by Vinicius de Moraes. The author traces the origins of the appeal to the image of Orpheus in the works of Camus and Moraes, and reveals the connection with the French dramatic tradition and cinema. M. Camus transforms the Greek story through the prism of the culture of the Afro-Brazilian population of Rio de Janeiro — the inhabitants of the favelas. The film brings to the fore the musical component of the myth, with the help of which the originality of the Afro-Brazilian tradition and carnival practices of Latin America are revealed. Orpheus in the film appears as a tram driver, singer and leader of a samba school. His image combines the Dionysian principle (the carnival tradition into which Orpheus is “inscribed”) and the Apollonian (expressed in lyrical songs and cultural codes of bossa nova). The carnival “building” of mythological reality allows us to touch the spiritual layers of the Brazilian tradition — the syncretic cult of Candomble. The space of the Macumba ritual symbolizes the Kingdom of Hades, in which dialogue with Eurydice is carried out through musical magic that opens doors between the worlds. The passage through the Kingdom of the Dead represents a rite of passage in which the hero dies and is reincarnated in a new form: in the finale, Orpheus “transfers” his musical gift to the boy, symbolically gaining new life in him. The interpretation of the ancient Greek plot in the space of Afro-Brazilian carnival practices helps to reveal the civilizational specificity of Latin America and Orfeus as an “eternal image” that embodies the divine gift of love, the magic of music, and eternal existence through a change of forms.

Интерпретация образа танца в творчестве Ф. Ницше

The paper reveals the peculiarity of the perception of dance in the works of F. Nietzsche. Dance is considered as one of the ancient forms of art, the appearance of which is associated with the ritual part of culture. The artistic world of dance and its poetics are most widely represented in the literature and culture of the XX century: mentions of ballrooms and dance marathons, descriptions of characters’ choreography, recreation of ritual dances, etc. To analyze the episodes, it is necessary to understand the aesthetic views of F. Nietzsche, which had a significant impact on writers. The scientific novelty lies in the following: the author makes an attempt to analyze the consistent development of the image of dance and the functional nature of dance in the works of F. Nietzsche for the first time. In this regard, the aim of the paper is to obtain the interpretation of the image of dance in the philosopher’s creative work in the process of analysis. This art form is mentioned in Nietzsche’s writings with a certain frequency, both in his philosophical and ethical works (“Twilight of the Idols”, “Thus Spoke Zarathustra”, etc.) and in poetic lines (“A Dancing Song to the Mistral Wind”, “For Dancers”, etc.). The results showed that Nietzsche draws attention to the dual nature of dance created through the synthesis of the Apollonian and the Dionysian principles (“The Birth of Tragedy Out of the Spirit of Music”), offers an understanding of dance as the embodiment of freedom, lightness, energy.

«ЛЕДА» Р. М. РИЛЬКЕ: МОДЕРНИСТСКОЕ ПРОЧТЕНИЕ МИФА

The article presents a literary analysis of Rainer Maria Rilke's poem "Leda" from several positions. The sonnet is considered as a modernist work created under the influence of Auguste Rodin, having the characteristics of a literary work of a synthetic type and representing the so-called "poem-thing". The presence of a hidden meaning in the poem is proved, which makes the whole work a metaphor for poetic creativity. The ideological influence of the mythological source of the poem is substantiated, which is artistically expressed in the interpretation of the image of the Swan as a Dionysian principle, and not completely Apollinarian. The artistic form of the sonnet is considered and its inherent, in this case, ornamentation in the arrangement of lexical material is proved, which emphasizes the modernist nature of Rilke's work. The conclusion is made about the continuity inherent in the poem, both in the use of mythical personification and poetic form.

Semantics of paired feminine images in the operatic creativity of R. Wagner (on the example of the Tangheiser opera)

Statement of the problem. Musical semantics is directly related to the phenomenon of musical content – modeling, understanding and generalization of the events of a musical work. The semantic approach is based on the study of the content of the elements of the musical language. Turning to paired images embodies a new perspective on the classification of operatic characters. The lack of research on this issue determines the scientific novelty and relevance of the chosen topic. The work of R. Wagner is indicative of the phenomenon of paired images. In his opera works, such characters form their own dramatic line. Analysis of recent research and publications. Among the latest studies devoted to the worldview of R. Wagner and the philosophy of his work, the scientific investigations of L. Havrylchyk (2015) and B. Kotyuk (2013), O. Polishchuk, V. Warrior (2016) proved useful. Issues directly related to the Tannhäuser opera, namely, the mythological aspect and tonal semantics, are considered in the works of O. Roschenko (2007), S. Litti (2014), K. Seigrified (2015). Separately, it should be noted the research on semantics as a general cultural and, in particular, musical category – O. Kühl’s manual (2008) and F. Mozhaev’s article (2014). Main objective of the study is to determine the semantics of paired female images – Venus and Elizabeth – in R. Wagner’s opera “Tanghäuser”. The scientific novelty. The novelty of the research lies in the fact that for the first time the semantics of paired female images is investigated using onomatopoeic and comparative methods at the level of musical language and at the figurative-emotional plan in the context of the general dramaturgy of the opera. Methodology. The following research methods are used: onomatological, semantic, genre-stylistic, functional-systemic, structural-functional, comparative, intonation analysis method. Results and conclusion. The semantics of the images of Elizabeth and Venus embody the idea of a contrasting juxtaposition of two worldviews. At the “mythological” level, which in R. Wagner’s operas serves as the foundation, the first basis, connections with Apollonian and Dionysian principles can be traced. These aesthetic categories are used to denote the two primary forms of cultural creativity – light, intellectual, rational and dark, passionate, ecstatic-irrational. At the highest, “religious” level, the images of Venus and Elizabeth correspond to different forms of religion: pagan and Christian. In the opera “Tannhäuser” Elizabeth and Venus are participants in the main love triangle (Tannhäuser-Venus-Elizaveta) and have different effects on the fate of the protagonist of the opera. The semantics of the images of Venus and Elizabeth are most appropriate to be considered precisely in the context of their pairing, and not separately. Two female characters are built according to the principle of complementary contrast and during the dramatic development remain two opposite “driving forces” of the main storyline.

In die gees van die Dionisiese: Marlene van Niekerk se aanhangersbrief aan Freddy Mercury

Drawing on Nietzsche’s dichotomy between the Apollonian and Dionysian principles pertaining to classic tragedy, in this article, I consider the poem “Fan mail Freddy Mercury” by Marlene van Niekerk, from Kaar (2013) from that perspective. The poem deals with the rock musician Freddy Mercury and from my reading is shown to be exemplifying the Dionysian spirit through Mercury’s movements, his performance and his vocal range. From my reading of the text it is evident that there was a strong fusion of the Apollonian and Dionysian in the life and work of Freddy Mercury. Despite his rebellious spirit and his negation of the faith of his childhood, culture dictated that he be buried in his faith. Van Niekerk, with her insight into the philosophy of Nietzsche, adds another dimension to the poem when she invokes Zarathustra, Nietzsche’s prophetic figure, to be distinguished from the historical god of the Zoroaster faith. The metaphorical language used by the poet suggests her Dionysian playfulness.

"What has Christ to do with Apollo?": Unpacking the Apollonian and Dionysian Principles in Joseph Ratzinger's Theology of Music

"What has Christ to do with Apollo?":Unpacking the Apollonian and Dionysian Principles in Joseph Ratzinger's Theology of Music David Birkdale (bio) ABSTRACT The Apollonian and Dionysian spirits occupy a central role in the theology of liturgical music proposed by Joseph Ratzinger (Benedict XVI). These terms highlight different priorities in music: the Apollonian represents reason, while the Dionysian represents primal emotion. Ratzinger holds that liturgical music should always be Apollonian, placing himself in a tradition that goes back to Plato. This article examines the history of this tradition, and argues against the Dionysian alternative proposed by Nietzsche and its current proponents, who regard the priority of the Apollonian spirit as essentially a form of European colonialism. Citing an example from Kongzi (Confucius), I show that the Apollonian spirit is not limited to Western thought, and allows for an experience of the Logos, a universal value. KEY WORDS Logos, Apollonian, Dionysian, Benedict XVI, music In The Spirit of the Liturgy, Joseph Cardinal Ratzinger (later Pope Benedict XVI) argues that liturgical music ought to conform to an Apollonian, rather than a Dionysian, principle. By applying these concepts to the liturgy, Ratzinger borrows terms from philosophy and places himself in a long tradition originating [End Page 57] in Plato's Republic. I claim that these terms highlight an important fault line between contemporary understandings of liturgy, and that only an Apollonian understanding of the liturgy allows full participation by worshippers. My survey of the history of these terms demonstrates that there is essentially a two-sided debate that plays out between the supporters of "Apollo" and "Dionysus." Ratzinger's Apollonian position, historically, is more mainstream, and finds heavy support in Plato as well as theologically in Erasmus, Romano Guardini, and others. On the other hand, we have a prominent minority opinion most fully expressed in Nietzsche, who argues against Apollonian dominance over the Dionysian and finds traction in contemporary proponents of a decolonized liturgy. While opponents of Apollonian liturgical music raise serious objections, their indebtedness to Nietzsche leaves them with a violent anthropology, of emotions against reason, which is particularly problematic in its liturgical expression. These terms, while European in origin, highlight a universal value: music that facilitates full participation in the liturgy, body and soul. To address Ratzinger's position, I will begin by outlining his use of Apollonian and Dionysian terminology before moving on to their roots in Platonic thought. Then, I will show how Nietzsche reinterprets the Apollo-Dionysus rivalry and applies it beyond music. Finally, I will examine some examples of theologians and others, including Jaci Maraschin, and Camille Paglia, applying the principles to liturgy. To answer, in part, concerns about liturgical colonization, I will highlight parallels in Confucian thought to point towards more effective cross-cultural dialogue and inculturation. Finally, I will argue that Ratzinger's use of these terms is correct, leads to an anthropology that rejects a violent relationship between emotion and reason, and opens the way for deeper participation in the sacramental mysteries. During his discussion of liturgical music in The Spirit of the Liturgy, Ratzinger argues for a "logikē latreia,"1 that is, worship [End Page 58] that is ordered by the Logos; literally, logos means "word," but in classical philosophy it refers to rationality, intelligibility, and mind. Theologically, the term invokes Christ as the Logos, the Incarnate Word, the word spoken by God in the very creation of the world, and the basis of all intelligibility and order. For Ratzinger, one of the ways to convey how liturgical music reflects the Logos is through the use of certain Platonic-Aristotelian terms, namely, Apollonian and Marsyan. He clarifies that the term Dionysian may be substituted for Marsyan, as this has been more common historically. Ratzinger argues that the Dionysian principle represents man's lower, primal instincts—a sort of unbridled passion, divorced from reason. On the other hand, the music of Apollo better reflects rationality and the elevation of the mind to truth, since Apollo was the god of reason. To Ratzinger, this represents an historical choice of humankind between two forms of music, and more broadly, two approaches to the emotions and reason.2 Plato's original position on this matter flows...

Влияние этических идей Л.Н. Толстого и П.А. Кропоткина на творческие принципы Г. Газданова

The relevance of the study is due to the need to study the ethical foundations of the writer’s artistic world. The correlation of G. Gazdanov’s works and his journalism with the concept of art by L.N. Tolstoy and the original ethics of P.A. Kropotkin is revealed. G. Gazdanov’s work is illuminated in an axiological manner, in connection with which art is positioned as a sphere of social life, which is the evolution of the spiritual development of mankind as a part of nature, conceivable in the projection of the divine principle. The task of the artist determines the motivation of reader to moral self-improvement. For this, the most important is the life experience of the author, which is opposed to “literary artificiality” and technicalism. The artist’s action is in-tegrated into society as a specific type of activity that combines the uniqueness of personal self-expression, cultural patterns and the evolutionary element of a new word in the form of a high message to the world. The typological connection between the writer’s metapoetics and pretexts is revealed implicitly in the texts of his works (“An Evening with Claire”, “Flight”, “The Prisoner”, etc.) and explicitly in his journalism. As a result of the analysis, it was possible to trace that in the eidological field of G. Gazdanov, the Apolonic and Dionysian principles, the “infectious” soulful-ness of L.N. Tolstoy and the spiritual searches of F.M. Dostoevsky are combined. Following the symbolist concept of “total unity”, G. Gazdanov “collects stones” and, focusing on his predeces-sors, removes the opposition between “elite” art and “literature for the masses”. The tendency from lyricism to plot in meta narration appears to be a reasonable choice aimed at the “echo” of the reader and a responsible civic position.

The History and Theory of The Dionysian Principle “Das Dionysische” in literature and philosophy before the classical formulations of Fr. Nietzsche

The history of the opposition of the Dionysian and Apollonian principles is longer than is usually assumed. Similarly to the many of the other contrarian figures ascribed to Nietzsche, the Apollonian–Dionysian was not of his making; its history is much older and buried under a number of different layers of interpretation. In the following work I will discuss the formal aspects and content of their development, which took place under the direct authorial influence of Pseudo-Longinus, Jacob Bernays, Friedrich Schiller, Fr. W. J. Schelling and Johan Jacob Bachofen. Still, although the discovery of a principle labelled das Dionysische doesn’t represent anything exceptional, the “Birth of Tragedy” treatise was a breakthrough: it began the development of a specific form of cultural critique, of which Nietzsche was the prime representative. 

THE APOLLONIAN AND THE DIONYSIAN IN M. TSVETAEVA’s CYCLE “POEMS ABOUT MOSCOW”

The article considers figurative and semantic functions of the Apollo - Dionysus mythologeme in M. Tsvetaeva’s cycle “Poems about Moscow”. The relevance of this problem is determined by the deficient extent of the knowledge between the Apollonian and Dionysian principles in the contexts of the works included in the cycle. In spite the fact that the most of literary critics consider the Dionysian code to be dominant for M. Tsvetaeva’s poetics, an analysis of a variety of poems from this cycle detects that Apollonian symbolism and associated with it motivic complexes play a primary role. This attitude conditioned to the scientific novelty of the article and its main position. This attitude explains the scientific novelty of the article and its main position. The conclusion is made that the Apollonian and the Dionysian are manifested in the literary worlds of the poems in various forms of relationships primarily as ambivalent principles of unity-opposites, illustrating the dialectical harmony of the cosmized reality in which the mind of a lyrical heroine is located.

James Light: “The Parade of Masks” (c. 1928)

James Light: “The Parade of Masks” (<i>c</i>. 1928)

Ženski princip i pitanje univerzalne krivice u romanu "Petruša i Miluša" Petra Sarića

The main characteristic of the novel Petruša i Miluša by Petar Sarić is an elaborate narrative scheme in the form of two voices, mother's and daughter's, two stories that flow and intertwine, and build a third-a story about a story. With this novel and its specific structure, Sarić, on one hand, continued the formal refinement that begun in his previous novels. On the other hand-on the issue of basic poetic-philosophical assumption connected to the question of personal and general (metaphysical) human guilt-he went further concerning both his creative work and the entire Serbian prose with similar thematic preoccupations. The Dionysian principle is represented by the imperatives of the body, the laws of blood, and Petruša's instinctive reaction, through her unrestrained nature that, at the same time, strives for self-renewal and self-destruction. It is a form of the female principle-creative and destructive at the same time, dark, chthonic as opposed to Miluša's Apollonian orientation, worshiping of light, and her mental illumination. Petruša i Miluša is not a model of a family novel (although it can be assumed). Still, in Sarić's novel, the family is just a focus into which the courses of overall existence converge and in which things are condensed and reflected by their true dimensions. This fact is not at all surprising bearing in mind his previous novels (Sutra stiže Gospodar, and especially Dečak iz Lastve), Sarić has already proved himself as a writer who searches for the deepest secrets of human nature, introducing a reader to the dark realm of the human soul, which is shaped according to his artistic creation and creative intuition.

Другости y роману Kaп шпанске крви Милоша Црњанског

Рад представља имаголошко читање недовољно проученог романа класика српске књижевности, Кап шпанске крви, а у вези с теоријом о аполонијском и дионизијском принципу елаборираном у Сексуалним персонама Камил Паље. Анализом архетипског и интертекстуалног аспекта текста, као и слика Шпаније и Немачке и њихових репрезената – јунака, расветљава се природа и функција стереотипа коју они имају унутар романескне речи Милоша Црњанског.

Dynamic Similarity: Outsider Art and Avant-garde

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АНТИЧНИЙ ДИСКУРС У РОМАНІ ДЖ. ДЖОЙСА «УЛІСС»

У статті висвітлюється проблема людини та її меж шляхом використання мотивів античної філософії та міфології в романі Дж. Джойса «Улісс». Визначено споріднені мотиви, що пронизують філософські трактати Платона («Філеб», «Тімей», «Держава») та роман Дж. Джойса. Зроблено спробу потрактування роману як втілення діонісійського начала, яке передує й передчуває аполлонівське. При цьому особлива увага приділяється прагненню до гармонійної єдності трьох начал у людині. Підкреслюється, що звернення до минулого, зокрема, до античних часів, надає тексту рис інтердискурсивності й інтертекстуальності. Це дає можливість розширити змістове поле роману, у якому описано один із найдовших днів в історії літератури, до меж неосяжного й недосяжного, що є основою постструктурологічних досліджень. The article shows the problem of man and his limits by using motifs of ancient philosophy and mythology in J. Joyce’s novel “Ulysses”. Identified related motives penetrating philosophical treatises of Platon (“Fileb”, “Timaeus”, “State”) and J. Joyce novel. Attempted interpretation of the novel as the embodiment of Dionysian principle which precedes and premonition Apollonian. In this case, special attention is paid to the pursuit of the harmonious unity troh principles in man. Emphasizes that the appeal to the past, in particular to antiquity, gives the text interdiscursivity and intertextuality. This makes it possible to expand the content field of the novel, which describes one of the longest days in the history of literature, to the limits of the immense and unattainable, which is the basis post-structuralism research.

В. М. Жирмунский в изменяющемся мире (К вопросу о контексте интеллектуальных поисков ученого: от немецкого мистического романтизма к семиотике мифа и поведения)

The article serves as an introduction to the present special issue devoted to Viktor Zhirmunskii. Zhirmunskiiʼs work in the field of philology, especially his study of German Romanticism, is considered with regard, first, to his criticism of the Formal method and second, in view of the central place of the epic/mythopoetic in Zhirmunskiiʼs conception of culture. The main context discussed here is Nietzscheʼs philosophy of the Apollinian and Dionysian principles. Finally, the author briefly introduces the contributions to the present issue.

Death in venice: Thomas Mann's novella about the dying of a writer

Thomas Mann's novella Death in Venice does not deal with guilt and atonement, as one can often read, but with fate and destiny as in the ancient tragedy. In contrast, the main problem that his protagonist, the writer Gustav von Aschenbach, faces is a very modern one: the problem of the artist at the turn of the century who has seemingly reached the boundaries of his art. Aschenbach tries to overcome them by switching from the Apollinian to the Dionysian principle. He even throws himself into the arms of Dionysian ecstacy. From this point in the novella, the narrator increasingly distances himself from his protagonist. In doing so, he is representative of the author who, for himself, had decided against Bohemian-like excesses and had turned to a bourgeois lifestyle. This does not mean, however, that Thomas Mann had found a way out of that cul-de-sac in which the artists had ended up at the beginning of the modern age - on the contrary: Death in Venice is one of the most pessimistic texts he ever wrote.

Fictions of Commodity Culture: From the Victorian to the Postmodern by Christoph Lindner (review)

804 Reviews been 'dead' languages since antiquity and provides an authoritative demonstration that even the humblest, most minute reference or quotation can be invested with a discernible cultural significance or value. The governing principle in the next chapter on varieties of language purism is the juxtaposition of two contradictory attitudes: the desire to accentuate the 'pure' Saxon elements of English by excluding foreign, principally Latin, influence and the opposite desire to incorporate Latinisms in order to 'purify' English of its vulgar and low vernacular elements. There is discussion of differentattitudes to what Dryden called the Teuton monosyllables of English which concludes with fascinating examples of the use of monosyllables in poetry. The third chapter explores 'interference' from Latin that results in deviation from the norm of English, classically represented in the poetry of Milton. Paradise Lost and Joyce's Finnegans Wake are the main examples here. The historical debate about Latinate English follows, and this chapter, which concludes the wide-ranging discussion ofthe whole Latin inheritance in English, ends with a detailed examination of the sunt qui construction as it is deployed in a variety of writers. But it is perhaps the account of the Greek inheritance which follows that represents the most satisfying and original part of the study. After a brief allusion to Milton's Samson Agonistes, 'perhaps the greatest response in English ever made to Greek' (most readers would probably have preferred further examination of this response at the expense of some of the previous thirteen pages on the sunt qui construction), examination ofthe debt to Greece deals firstwith three topics: the compound epithet, negative adjectives, and English debt to Greek metrical practice. The context of the discussion is provided by the two contrasting attitudes ofthe Germans (represented by Winckelmann and Holderlin) to the Greeks that were later expressed in Nietzsche's shorthand terms 'the Apollonian' (Arnold's 'sweetness and light' in English) and 'the Dionysian' (first theoretically appreciated in English by Pater). The debt of Shelley, Swinburne, and Hopkins to the paratactical style of Aeschylus puts them in their differentways within the tradition starting with Holderlin and culminating in Nietzsche's Dionysian principle. In the case ofthe Latin inheritance, Milton figures largely but space precludes much actual discussion of particular passages. What is particularly satisfying in this examination of the English debt to the Greek (surely the fullest and most judicious handling of this difficulttopic yet to be made) is that the analysis is so clearly concentrated upon particular works: Promethus Unbound, Atalanta in Calydon, and The Wreck of the 'Deutschland' among other poems by Hopkins. Finally, there is a suggestive link through Pound to modernist poetics. At the end of his introduction Haynes remarks that his essays are designed to give 'an initial survey to a rich topic' (p. xiv); his admirably rich survey will undoubtedly stimulate more studies in this valuable area. University of Stirling Robin Sowerby Fictions of Commodity Culture: From the Victorian to thePostmodern. By Christoph Lindner. Aldershot and Burlington, VT: Ashgate. 2003. viii + 190 pp. ?40. ISBN 0-7546-3483-3. Christoph Lindner offersa study that looks at literary representations of consumer? ism. Focusing on selected novels by Gaskell, Thackeray, Trollope, Conrad, and Delillo, he argues that, in the nineteenth century,the 'discourse of economic exchange became the discourse of social exchange' (p. 7). He also wants to make good the claim that the characteristically Victorian ways of dealing with consumerism resurface in modern and postmodern fiction. Drawing on the ideas of Marx, Lukacs, Baudrillard, and others, Lindner makes a sustained and serious attempt to explicate the terms of MLRy 100.3, 2005 805 his argument (though the inclusion of Raymond Williams would, in certain respects, have been more useful). Throughout, Lindner debates his chosen novels in a clear, enthusiastic, and fluent manner, and his readings are often persuasive. In spite ofthe author's liveliness, I have quite a few strong reservations. Given the amount ofwork on consumerism and the nineteenth-century novel, I would have liked a prominent and direct formulation of this book's distinctive contribution. Although, at various points in the chapters, Lindner distinguishes his arguments with regard to particular novels, I needed to be convinced that the...

Apollo and Dionysus in Andrei Belyi's Petersburg

M uch has been written about the Russian Symbolists' debt to Nietzsche and to the Apollo-Dionysus opposition which he formulates in The Birth of Tragedy.I Russian translations of Nietzsche's writings began to appear in the 1890s, and around the turn of the century the Russian literary avant-garde began to respond to Nietzsche's Dionysian call, led by writers such as Viacheslav Ivanov and Dmitrii Merezhkovskii, whose obvious debt to Nietzsche can hardly be exaggerated.2 Eventually, Nietzsche's impact came to be felt in the realm of literary criticism when Mikhail Bakhtin helped to promulgate the concept of the carnivalesque-a notion which plainly mirrors Nietzsche's concept of the Dionysian principle.' Andrei Belyi, a contemporary of the young Bakhtin, wove Nietzsche's ApolloDionysus opposition into the thematic center of his greatest novel, Petersburg.4 Dionysus becomes a metaphor for the violent historical forces which push Russia toward the Bac-

Dionysus, the Touch of Gold, and the Ears of Midas: Presidential Address, the Clay Minerals Society, 1985

Distinguished guests, ladies and gentlemen: The topic of this 1985 Presidential Address has been frustratingly close to me in my 28 years with Georgia Kaolin Research. That topic is innovation, specifically, new product development, and the title is "Dionysus, the Touch of Gold, and the Ears of Midas." Dionysus was the Greek god of wine or intoxication. Among other things, he has become noted for the Dionysian principle of surging vitality. This surge in vitality is promoted by the ingestion of intoxicants and is symbolic of the creative energy necessary to achieve inventionand invention is the first stage of innovation. Dionysus bestowed upon King Midas the power to convert whatever he touched to gold. To convert an invention to a profitable enterprise, the second stage of innovation, commonly requires this golden touch of Midas. In amusing contrast, King Midas was given the ears of an ass by Apollo for declaring Pan's pipe more musical that Apollo's lyre. "Ears of Midas" has become a phrase applied to unsophisticated critics. Some of the critics of the innovative process, both in research and business arenas, including myself, have occasionally had the ears of Midas. Much of the kaolin in Georgia was formed during the Cretaceous period nearly 70 million years ago. In the last 28 years I have both praised and cursed that time in geologic history. When I left academia for industry, I held the notion that a quest for new knowledge was a universally accepted practice for the technical investigator. Such naivet6 gave way reluctantly to the realization that in the industrial world of managers preoccupied with bottom lines, efforts to achieve understanding are frequently viewed as innocence, and pragmatism is invariably truth. The bottom line of this realization is that paths to innovation are profoundly influenced by managerial philosophy, a problem that I will say more about below.

E. M. Forster: The Limitations of Mythology

HE MOST tantalizing, as well as the most prominent, fact about E. M. Forster's use of Greek mythology is that, while two of his three earliest novels and most of his short stories (all early) are studded with mythological allusions, his last two novels are not. Howards End and A Passage to India are nearly devoid of such references, while A Room with a View and The Longest Journey depend on mythology for thematic coherence as well as for decoration. The fact is tantalizing because mythology in the early novels is closely bound to Forster's general view of the world; the question arises whether his gradual withdrawal from Hellenism signifies something deeper than the passing of a literary vogue. If we can establish the precise import of mythology in the early work, it may be possible to see a correlation between changes in Forster's technique and the broadening of his total outlook from one novel to the next. Some orientation to the problem may be gotten from Nietzsche's famous distinction between the Apollonian and Dionysian principles. The Dionysian, according to Nietzsche in The Birth of Tragedy, is the spirit that feels the oneness of all things, and which consequently shares in all the pain and ecstasy in the universe. This Promethean seizure of forbidden experience quickly becomes unbearable and must be succeeded by the spirit of Apollonianism. The Apollonian is the principium individuationis; it recognizes forms, borders, and categories, and imposes the image of finite humanity upon the disorder of experience. As opposed to the Dionysian involvement in excess, the Apollonian insists on measure and morality; it substitutes the ideal of knowledge for that of participation. Tragedy, the highest of the arts, ideally transfixes experience at the moment when the Dionysian consciousness, tormented