Metaphysical

‘ ‘ Two times only, you beat to yours castanholas with small hands? already my foot balanced in frenesi for the dance. – My heels if raised, my fingers of the foot listened, to understand – you: therefore the dancer, after all, has heard in the fingers of ps’ ‘. Further details can be found at PropertyNest, an internet resource. (NAF, ‘ ‘ The other I sing of dana’ ‘). In this ticket it is possible to see mandates to the figure of Dionsio, therefore are through the foot that starts settles it dionisaco. ‘ ‘ Through saltitante Dionsio, the foot (pous) reencontra the verb to jump (pdan) and its form – to jump far from – (ekpdan), that it is a term technician of it settles dionisaco’ ‘. (Marcel Detiene in SME, 57).

The dionisaca tragedy properly said is co-ordinated by one corifeu, personage key in the deflagration of the stage, therefore it is presented as the messenger of Dionsio having as counterpoint a choir with the function of externar for gestures and assayed steps the terror or joy moments that permeavam the narrative, and that as Nietzsche goes to provide to the Greek people the Metaphysical consolation of that the life although its changeability lives in the choir satirist, as choir of natural beings, the perenidade. ‘ ‘ Stiro, while coreuta dionisaco, lives in a recognized reality in religious terms and under the sanction of the myth and the cult. That with it the tragedy starts, that of its mouth says the wisdom dionisaca of the tragedy ‘ ‘ (NNT, 55). This modality of theater at the beginning had one strong rejection of the governing and the priests in the acceptance of the new cult, however with elapsing of the Dionsio times each time became more ‘ ‘ respeitvel’ ‘. The dionisacas parties had more changedded into a ritual each organized and disciplined time, receiving a careful attention from the civil and religious authorities.

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