apollonian reason dionysian_

Classicism is a specific genre of literature which has Greek and Roman influence and had an emphasis on society, the Enlightenment, and the Age of Reason.

Classicism first made an earance as such during the Italian renaissance when the fall of Byzantium and rising trade with the Islamic cultures brought a flood of knowledge about, and from, the antiquity of Europe. Until that time the identification with antiquity had been seen as a continuous history of Christendom from the conversion of Roman Emperor Constantine I. Renaissance classicism introduced a host of elements into European culture, including the lication of mathematics and empiricism into art, humanism, literary and depictive realism, and formalism. Importantly it also introduced Polytheism, or "paganism", and the juxtaposition of ancient and modern.

The classicism of the Renaissance was to lead to and give way to, a different sense of the classical in the 16th and 17th centuries. In this period classicism took on more overtly structural overtones of orderliness, predictability, the use of geometry and grids, the importance of rigorous discipline and pedagogy, the formation of schools of art and music. The court of Louis XIV was seen as the center of this form of classicism, with its references to the gods of Olympus as a symbolic prop for absolutism, its adherence to axiomatic and deductive reasoning, and its love of order and predictability. This period sought the revival of classical art forms, including Greek drama and music. Opera, in its modern European form, had its roots in attempts to recreate the combination of singing and dancing with theatre thought to be the Greek norm. Examples of this eal to classicism included Dante, Petrarch, and Shakespeare in poetry and theatre. Tudor drama, in particular, modeled itself after classical ideals and divided works into Tragedy and Comedy. Studying ancient Greek became regarded as essential for a well-rounded education in the liberal arts.

The Renaissance also explicitly returned to architectural models and techniques associated with Greek and Roman antiquity, including the golden rectangle as a key proportion for buildings, the classical orders of columns, as well as a host of ornament and detail associated with Greek and Roman architecture. They also began reviving plastic arts such as bronze casting for sculpture, and used the classical naturalism as the foundation of drawing, painting and sculpture.

The Age of the Enlightenment identified itself with a vision of antiquity which, while continuous with the classicism of the previous century, was shaken by the physics of Sir Isaac Newton, the improvements in machinery and measurement, and a sense of liberation which they saw as being present in the Greek civilization, particularly in its struggles against the Persian Empire. The ornate, organic, and complexly integrated forms of the baroque were to give way to a series of movements that regarded themselves expressly as "classical" or "neo-classical", or would rapidly be labelled as such. For example the painting of Jacques-Louis Did which was seen as an attempt to return to formal balance, clarity, manliness, and vigor in art.

The 19th century saw the classical age as being the precursor of academicism, including such movements as uniformitarianism in the sciences, and the creation of rigorous categories in artistic fields. Various movements of the romantic period saw themselves as classical revolts against a prevailing trend of emotionalism and irregularity, for example the Pre-Raphaelites. By this point classicism was old enough that previous classical movements received revivals; for example, the Renaissance was seen as a means to combine the organic medieval with the orderly classical. The 19th century continued or extended many classical programs in the sciences, most notably the Newtonian program to account for the movement of energy between bodies by means of exchange of mechanical and thermal energy.

The 20th century saw a number of changes in the arts and sciences. Classicism was used both by those who rejected, or saw as temporary, transfigurations in the political, scientific, and social world and by those who embraced the changes as a means to overthrow the perceived weight of the 19th century. Thus, both pre-20th century disciplines were labelled "classical" and modern movements in art which saw themselves as aligned with light, space, sparseness of texture, and formal coherence.

In the present classicism is used as a term particularly in relation to what Apollonian over Dionysian impulses in society and art, that is a preference for rationality, or at least rationally guided catharsis, over emotionalism.

尼论善恶（英中文双语读本）

作者：（德）尼 著，朱泱 译 价格:22.3

详细信息:://product.dangdang/product.aspx?product_id=9165779

偶像的黄昏（大学生英语文库）

作者：（德）尼（Nietzsch,F.W.） 著，李喜雪 目录

Preface

Maxims and Arrows

The Problem of Socrates

“Reason”in Philosophy

How the“True World”Finally Became a Fable

Morality as Anti-Nature

The Four Great Errors

The“Improvers”of Mankind

What the Germans Lack

Skirmishes of an Untimely ManW

What I Owe to the Ancients

The Hammer Speaks

详细信息:://product.dangdang/product.aspx?product_id=8799654

文思博要·英汉对照——权力意志

作者：（德）尼（Nietzsche,F.） 著，杨向荣，曾莹 编译

目录

序

欧洲虚无主义

欧洲虚无主义的历史

对宗教、道德和哲学的批判

作为认知的权力意志

等级秩序

价格:16.8元