The Re-Genesis of Dionysian Revelry: Where Art Is the Ecstatic Effulgence of the Body’s Mystical Quintessence

Abstract

Norman O. Brown cites the following as a function of his separation from the invidious manacles of neurological ratiocination: “And to be not conformed to this world…but be transformed [metamorphose yourselves] by a renewing of your mind” (Brown, 1991). Shane 2015 writes that ecstatic liberation is engendered when the mind is extricated from the central nervous system’s tyranny (Shane, n.d.). Hamlet remarks “with thoughts beyond the reaches of the souls” (Shakespeare, 1982).
Patricia Easterling states that Dionysian theater was a freedom from the immurement of self-consciousness or an artistry of the mystical mystique (Eastering, 1997). Dionysian theater, tantric ritualism, ecstatic shamanistic rites, and atavistic rapturous ceremonialism have been executed in most pre-modern societies (Shane, 2014). Norman O. Brown explicates this ubiquitous meta-phenomena in his work entitled Love’s Body (Brown, 1971). Social evolution or the pathogenesis of the modern phenotype depicts the desecration of the etheric body’s predilection towards ascendant apotheosis or Dionysian ritualism (Shane, 2012). Plato’s The Ion represents how the paramount powers of diminutive ratiocination denigrate the numinous body’s puissance towards Dionysian exhilaration (Adams, 1971). The mind delimiting manacles of peevish abstraction abnegates the numinous body’s proclivity for mystical revelry. Aristotle’s poetics represents this fragrant dismissal and annihilation of the body’s primordial exaltation (Adams, 1971, pp.48-67).