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No. sentence
1 Passing Boreen Point, home to the historic Apollonian Hotel, famed for its Sunday spit roast, we see stingrays and stonefish in waist-deep Lake Cootharaba.
2 He says that we have separated two important aspects of ourselves: the "Dionysian" and the "Apollonian".
3 The Apollonian, by contrast, represents the power to deal with the powerful surge of vital energy, to harness destructive powers, and to transmute these into creative act.
4 During the Second Punic War in 212 BCE, the Ludi Apollinares ("Apollonian Games") were instituted in his honor, on the instructions of a prophecy attributed to one Marcius.
5 The chief Apollonian festival was the Pythian Games held every four years at Delphi and was one of the four great Panhellenic Games.
6 The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian.
7 In discussion of the arts, a distinction is sometimes made between the Apollonian and Dionysian impulses where the former is concerned with imposing intellectual order and the latter with chaotic creativity.
8 notion of the Apollonian and Dionysian;
9 The Apollonian and Dionysian is a two-fold philosophical concept, based on features of ancient Greek mythology: Apollo and Dionysus.
10 A main theme in The Birth of Tragedy is that the fusion of Dionysian and Apollonian Kunsttrieben ("artistic impulses") forms dramatic arts, or tragedies.
11 Nietzsche used these two forces because, for him, the world of mind and order on one side, and passion and chaos on the other, formed principles that were fundamental to the Greek culture: the Apollonian a dreaming state, full of illusions;
12 Apollonian and Dionysian juxtapositions appear in the interplay of tragedy: the tragic hero of the drama, the main protagonist, struggles to make (Apollonian) order of his unjust and chaotic (Dionysian) fate, though he dies unfulfilled.
13 Nietzsche objects to Euripides' use of Socratic rationalism and morality in his tragedies, claiming that the infusion of ethics and reason robs tragedy of its foundation, namely the fragile balance of the Dionysian and Apollonian.
14 Plato continued along this path in his dialogues, and the modern world eventually inherited reason at the expense of artistic impulses found in the Apollonian and Dionysian dichotomy.
15 This leads to his conclusion that European culture, from the time of Socrates, had always been only Apollonian, thus decadent and unhealthy.
16 He notes that whenever Apollonian culture dominates, the Dionysian lacks the structure to make a coherent art, and when Dionysian dominates, the Apollonian lacks the necessary passion.
17 An example of the impact of this idea can be seen in the book Patterns of Culture, where anthropologist Ruth Benedict acknowledges Nietzschean opposites of "Apollonian" and "Dionysian" as the stimulus for her thoughts about Native American cultures.
18 Thomas Mann's novel Death in Venice shows a use of Apollonian and Dionysian, and in Doctor Faustus Nietzsche was a central source for the character of Adrian Leverkühn. Hermann Hesse, similarly, in his Narcissus and Goldmund presents two main characters as opposite yet intertwined Apollonian and Dionysian spirits.
19 He identifies them with the Greek gods, so one henad might be Apollo and be the cause of all things apollonian, while another might be Helios and be the cause of all sunny things.
20 Friedrich Nietzsche was a member of Wagner's inner circle during the early 1870s, and his first published work, The Birth of Tragedy, proposed Wagner's music as the Dionysian "rebirth" of European culture in opposition to Apollonian rationalist "decadence".
21 She used the Nietzschean opposites of "Apollonian" and "Dionysian" as the stimulus for her thought about these Native American cultures.
22 The Apollonian gasket was first described by Apollonius of Perga (3rd century BC) and further analyzed by Gottfried Leibniz (17th century), and is a curved precursor of the 20th-century Sierpiński triangle.
23 Handling the struggle between the Dionysiac and the Apollonian, Death in Venice has been made into a film and an opera.
24 He also defines the term “skepticism” as he uses it and identifies two types of skeptic, the Apollonian, who is “committed to clarity and rationality” and the Dionysian, who is “committed to passion and instinct.” William James, Bertrand Russell, and Friedrich Nietzsche exemplify the Apollonian skeptic, Carroll says, and Charles Sanders Peirce, Tertullian, Søren Kierkegaard, and Blaise Pascal are Dionysian skeptics.
25 Three oracles had successively operated in Delphi – the chthonion using egkoimisi (procedure that involved sleeping in the Holy place, so as to see a revealing dream), the Kliromanteion and finally the Apollonian, with the laurel.
26 In The Birth of Tragedy (1872), the German philosopher Friedrich Nietzsche proposed that a tension between Apollonian and Dionysian aesthetic principles underlay the development of Greek tragedy;
27 The acmeists contrasted the ideal of Apollonian clarity (hence the name of their journal, Apollon) to "Dionysian frenzy" propagated by the Russian symbolist poets like Bely and Vyacheslav Ivanov.
28 David Bishop argued that had Quaker Amy not helped her husband by shooting a man in the back, such inaction would have pulled pacifism "toward apollonian decadence".
29 Critic Andrew Sarris observes, "Sternberg has never been as close to any character as he is to this elegant expatriate ..." Menjou's response to Dietrich's desertion reveals the nature of the man and presents a key thematic element of the film: "In Menjou's pained politeness of expression is engraved the age-old tension between Apollonian and Dionysian demands of art, between pride in restraint and passion in excess ... when Dietrich kisses him goodbye, Menjou clutches her wrist in one last spasmodic reflex of passion, but the other hand retains its poise at his side, the gestures of form and feeling thus conflicting to the very end of the drama ..." The "absurdity" of the closing sequence, in which Dietrich, "sets out into the desert sands on spike heels in search of Gary Cooper", was noted by critics at the time of the film's release.
30 The contest of Apollo and Marsyas is seen as symbolizing the eternal struggle between the Apollonian and Dionysian aspects of human nature.