Dionysus after Nietzsche examines the way that The Birth of Tragedy (1872) by Friedrich Nietzsche irrevocably influenced twentieth-century literature and thought. Adam Lecznar argues that Nietzsche's Dionysus became a symbol of the irrational forces of culture that cannot be contained, and explores the presence of Nietzsche's Greeks in the diverse writings of Jane Harrison, D. H. Lawrence, Martin Heidegger, Richard Schechner and Wole Soyinka (amongst others). From Jane Harrison's controversial ideas about Greek religion in an anthropological modernity, to Wole Soyinka's reimagining of a postcolonial genre of tragedy, each of the writers under discussion used the Nietzschean vision of Greece to develop subversive discourses of temporality, identity, history and classicism. In this way, they all took up Nietzsche's call to disrupt pre-existing discourses of classical meaning and create new modes of thinking about the Classics that speak to the immediate concerns of the present.

William Storm reinterprets the concept of the tragic as both a fundamental human condition and an aesthetic process in dramatic art. He proposes an original theoretical relation between a generative and consistent tragic ground and complex characterization patterns. For Storm, it is the dismemberment of character, not the death, that is the signature mark of tragic drama. Basing his theory in the sparagmos, the dismembering rite associated with Dionysus, Storm identifies a rending tendency that transcends the ancient Greek setting and can be recognized transhistorically. The dramatic character in any era who suffers the tragic fate must do so in the manner of the ancient god of theater: the depicted self is torn apart, figuratively if not literally, psychologically if not physically. Storm argues that a newly objectified concept of the tragic can prove more useful critically and diagnostically than the traditional and more subjective tragic "vision." Further, he develops a theory of the tragic field, a model for the connective and cumulative activity that brings about the distinctive Dionysian effect upon character. His theory is supported with case studies from Agamemnon and Iphigenia in Aulis, King Lear, and The Seagull. Storm's examination of the dramatic form of tragedy and the existential questions it raises is sensitive to both their universal relevance and their historical particularity.

Explores how, after Nietzsche, Dionysus and the ancient Greeks would never be the same again.

This book recovers Dionysus and Apollo as the twin conceptual personae of life’s dual rhythm in an attempt to redesign contemporary theory through the reciprocal but differential affirmation of event and form, body and thought, dance and philosophy.

Weighs the relationship of traditional and the present. Sees our world today as being like the transitional worlds of Homer, Virgil, and Apuleius and uses the two classical texts, the Metamorphoses and the Iliad as the basis of the discussion.

“Those who eat my flesh and drink my blood abide in me, and I in them.” Dennis R. MacDonald offers a provocative explanation of those scandalous words of Christ from the Fourth Gospel—an explanation that he argues would hardly have surprised some of the Gospel’s early readers. John sounds themes that would have instantly been recognized as proper to the Greek god Dionysos (the Roman Bacchus), not least as he was depicted in Euripides’s play The Bacchae. A divine figure, the offspring of a divine father and human mother, takes on flesh to live among mortals, but is rejected by his own. He miraculously provides wine and offers it as a sacred gift to his devotees, women prominent among them, dies a violent death—and returns to life. Yet John takes his drama in a dramatically different direction: while Euripides’s Dionysos exacts vengeance on the Theban throne, the Johannine Christ offers life to his followers. MacDonald employs mimesis criticism to argue that the earliest Evangelist not only imitated Euripides but expected his readers to recognize Jesus as greater than Dionysos.

This volume presents an essential but underestimated role that Dionysus played in Greek and Roman political thought. Written by an interdisciplinary team of scholars, the volume covers the period from archaic Greece to the late Roman Empire. The reader can observe how ideas and political themes rooted in Greek classical thought were continued, adapted and developed over the course of history. The authors (including four leading experts in the field: Cornelia Isler-Kerényi, Jean-Marie Pailler, Richard Seaford andRichard Stoneman) reconstruct the political significance of Dionysus by examining different types of evidence: historiography, poetry, coins, epigraphy, art and philosophy. They discuss the place of the god in Greek city-state politics, explore the long tradition of imitating Dionysus that ancient leaders, from Alexander the Great to the Roman emperors, manifested in various ways, and shows how the political role of Dionysus was reflected in Orphism and Neoplatonist philosophy. Dionysus and Politics provides an excellent introduction to a fundamental feature of ancient political thought which until now has been largely neglected by mainstream academia. The book will be an invaluable resource to students and scholars interested in ancient politics and religion.