Dionysius of Alexandria Chalambalakis
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Dionysus is the sacrificial goat or calf that is left to devour, is impetuous force that is offered, the archetype of zoe, the life cycle of the perpetrator. He is also tied to solar power as well as taurine, through the figure of Ariadne, lady of the labyrinth with the Minotaur and is linked with the cult of Zagreus (huntress deity, lord of the animals). The ferocious feline and the raging of the panther are expressions of the Dionysian: the panther's fur as the animal itself appear as constant elements in many artistic representations of scenes Bacchic and the same Dionysus is often depicted as one who comes riding on a panther. The strong component
idyllic, pastoral, bucolic - that emerges here and that is undoubtedly essential for the Greek mentality - is not intended as an expression of a sort of earthly paradise where man simply regains lost natural immediacy. There is indeed a very strong relationship [5] which links the erotic universe of Pan and Dionysus to the topic of pain experienced the painful truth and the sacred and panic in the Dionysian states indeed become the tragedy of the sinking of every being in its anything, the flow through eros and thamtos, all forms to inform, to every individual in all of all life in death.
orgiastic rupture of the principium individuationis open to that truth that is painful and horrific denial of any form, of every civilization. From this point of view, animals, erotic ecstasy, rapture Dionysian and panic are perfectly convergent. The fact that the etymology of the word 'tragedy' is 'tràgosodia' (song of the goat), points to the root of the satirical and ritual greek theater. The union of man and goat in the satyr figure, according to Nietzsche, in fact, indicates "the sexual omnipotence of nature that the Greek is used to look with reverent awe" [6]
«[...] civilized man greek felt aside from the chorus of satyrs: Delia and the immediate effect is this Dionysian tragedy, that the State and society in general and the depths fira man and man give way to an overwhelming feeling of unity that leads back to the heart of nature "[7] .
The truth that is experienced in this condition, according to Nietzsche, is emerging as a disease, defined as pain originating in that it contains within itself a perpetual game of confrontation. Nietzsche describes this original unity as something eternai suffering and full of contradictions. This truth has extemal resident of the State. It is indeed a ek-stasis, a stand out. What lives that exit, parallel to the output both his country (thus understood as a political space) which was separate from his ordinary consciousness is understood as the demon of the tragic human condition than naivety animal. This tragic consciousness is expressed perfectly in the synthesis antropozoomorfa represented by the forest gods. The demon lives in the human eye to the truth that the non-civil means. The forest, the forest, silva, because
geographically located outside the political space (on the polis), become the scene of an investment; demonic character of the tragic rappc against nature and man-animal.
"the chorus is a chorus of dithyrambic processed past civil and social position are comp forgotten "[8] .
Denial of civilization - its laws, on the Apollonian, formal (meaning on the form, individuationis) - as lies the task is indeed Dionysian cirteo that in breaking quell'indiv for the information, exhibition - the vertigo of the dance, comedy and tragedy - the claim to be based on the abyss, then shows the dryer nothing of the absence of certain real horizons and determining the unbearable freedom - as sacred as unsustainable unsustainable - which is nature is nothing but the abyss.
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