Dionysian

Dionysian Spirit is a major concept of Nietzsche 's philosophy .

酒神精神是尼采的一个重要概念。

On the Orientation of Dionysian Spirit in the Narrative of Enlightenment Reason

启蒙理性叙事中的酒神精神取向

The Dionysian Nature of Tragedy : Nietzsche 's Concept of Tragedy

悲剧的酒神本质：尼采的悲剧观

My friends , you who believe in Dionysian music , you also know what tragedy means to us .

我的朋友，您是相信酒神音乐的，您也知道悲剧对我们的意义。

Nietzsche was the first philosopher to understand the Dionysian spirit phenomenon from a psychological perspective .

尼采是第一位从心理学的视角去理解酒神精神现象的哲学家。

Dionysian worldview confirms the life and the life instinct .

酒神世界观肯定生命重视生命本能。

Sacrifice is the bridge of Dionysian ceremony and the tragedy happening .

献祭是衔接酒神仪式与悲剧发生的桥梁，也是建构悲剧性的核心。

You shall accompany the Dionysian pageant from India to Greece .

您得要追随酒神信徒的行列，从印度走到希腊！

Dionysian worship in ancient Greece during the ceremony with wine and music , there are two main ways .

古希腊时期酒神祭祀仪式上酒与音乐结合方式主要有两种。

Thus the Apollinian tears us out of the Dionysian universality and lets us find delight in individuals ;

所以，梦神的力量，从我们手上夺去醉境的普遍性，使我们喜爱个别的东西；它把我们的同情心桎梏在个性上；

Nietzsche gave us his Dionysian world view , denial of the rational view of the world of Socrates .

尼采在《悲剧的诞生》中提出了自己的酒神世界观，否定了苏格拉底的理性世界观。

Yes , my friends , believe with me in Dionysian life and the rebirth of tragedy .

是的，朋友，同我一起信仰酒神的生涯，信仰悲剧的再生吧。

their Dionysian music , in especial , spread abroad terror and a deep shudder .

尤有甚者，酒神祭音乐激起人们的惶惑和恐惧。

Nietzsche highlights two impulses of art : the Apollonian Art and the Dionysian Art .

同时，尼采强调了艺术的两种动力，即日神艺术与酒神艺术。

In tragedy , Apollonian image is only the means of expressing the Dionysian impulse .

在悲剧中，日神形象仅是表达酒神冲动的手段；

Thus we are enabled to view the chorus of primitive proto-tragedy as the projected image of Dionysian man .

那么，照这一意义来说，我们不妨把原始悲剧最早阶段的歌队称为醉境中人的自我反映。

Music and tragic myth are equally expressions of the Dionysian capacity of a people , and they are inseparable .

音乐与悲剧神话同是一个民族的醉境能力之表现，而且是彼此不可分离的。

Icaria is known for the longevity of its residents ; it 's also known for Dionysian all-night parties .

伊卡里亚岛出名的不仅是长寿的居民，还有通宵达旦的酒神节派对。

On Two Kinds of Aesthetic Utopia : Dionysian Spirit and Carnival Spirit & An Aesthetic Dialogue between Nietzsche and Bakhtin

两种美学乌托邦：酒神精神与狂欢精神&论尼采美学与巴赫金美学的对话关系

He says that we have separated two important aspects of ourselves : The " Dionysian " and the " Apollonian " .

他说我们自身被分成两个重要的部分：“酒神的”和“日神的”。

The Dionysian , with its primordial joy experienced even in pain , is the common source of music and tragic myth .

酒神祭的热情，及其在痛苦中体验到的原始快感，就是音乐与悲剧神话的共同根源。

The Dionysian musician , himself imageless , is nothing but original pain and reverberation of the image .

酒神型音乐家则无需形象，他自己就是纯粹观照的原始痛苦及其原始反响。

It is as though the myth whispered to us that wisdom , and especially Dionysian wisdom , is an unnatural crime ,

真的，这个神话好象要在我们耳边私语，告诉我们：聪明，尤其是狄奥尼索斯式的聪明，乃是反自然的坏事；

The Dionysian Greek , desiring truth and nature at their highest power , sees himself metamorphosed into the satyr

但是酒神祭的希腊人却追求最强有力的真实和自然，所以他们见到自己变为萨提儿。

This book interpreted the birth of ancient Greek tragedy from the perspective of the occurrence , accompany with the Dionysian ecstasy .

这部著作从发生学的视角对古希腊悲剧的诞生进行了酒神式迷狂的解读。

Thus we have come to interpret Greek tragedy as a Dionysian chorus which again and again discharges itself in Apollinian images .

照这观点来看，我们必须把希腊悲剧看作酒神歌队不断在梦境幻象中再三突变。

Chapter Two talks about death motif and the birth of ancient Greek tragedy . It relates death motif to the Dionysian spirit and social life respectively .

正文第一部分研究死亡主题和古希腊悲剧，分别讨论死亡主题与酒神精神的关系及其在社会生活中的表现。

This chasm of oblivion separates the quotidian reality from the Dionysian .

正是这个忘忧的洪沟，分隔开日常生活的世界与醉境的现实。

Shortly after they are stranded than they begin to fall because of their inherent evil , manifested by Dionysian Jack .

被搁浅不久，他们便由于内在的邪恶集中体现在狄奥尼索斯式的人物杰克身上而开始堕落。

On Dionysian Spirit of Nietzsche

论尼采的酒神精神