Ideological Messages Behind Barbara Krugers Work Art Essay

Ideological Messages Behind Barbara Krugers Work Art Essay Even though some may challenge the ideological messages behind Barbara Krugers work in the 1980s, it brought about a change in society. She criticizes everything that is wrong with the stereotypical society using a conceptual approach to her artwork. Kruger challenges gender, sex, religion, consumerism, greed, power and her work becomes fueled by the mass media. Kruger was born in 1945 in Newark, New Jersey. In 1964, she studied at the School of Visual Arts at Syracuse University. After a year at Syracuse, she went to the Parsons School of Design in New York and studied graphic design. After a year at Parsons, she received an entry level position at Mademoiselle Magazine in New York. She was soon promoted to head designer at the magazine. By working for a magazine, she was able see how words and photos can have a certain power to consumers. She became familiarized with these concepts of graphic design and started applying them to her artwork. During the late 1970s she started off using her own photography as the medium for her work as a female artist. In the 1980s she developed a different approach to her work by integrating images and text. According to Steven Heller, Krugers method was influenced by reductive Modernist graphic design, the kind that began somewhat idealistically but has dominated corporate identity during the postwar years, as well as the so-called Big Idea or Creative Revolution advertising style of the sixties, known for clever slogans and ironic single images (Heller 112). In other words, Krugers artwork can grab your attention just as easily as an advertisement driven by Krugers artwork is considered postmodern. Postmodernism is an art movement that came about after modernism during the late 20th century. For Kruger, as well as many contemporary theorists, postmodernism is not a style of succeeding the dissolution of modernism but rather a historical condition, marked by new philosophical relations. It signals a rupture with the notion of sovereignty and individuality inherited from the Enlightenment (Linker 12). Postmodernism shaped Krugers work by her use of space, text and photos she uses from other sources of the media which shows her individually as a female artist. Her use of words and pictures convey a deeper meaning. Her artwork shows the viewer how fast people label others in society. The work shows how another persons view can impact society as a whole by letting the hierarchy in society manifest our culture. Barbara went beyond this to get a reaction from society by raising this social awareness in her art. Through her works she expresses gender, sexuality and other stereotypical issues that are developed within a mainstream culture. Some may argue that her work disrupts the space or environment in which it is displayed. In the article Jam Life into Death, Ana Balona de Olivera talks about how Kruger uses the explicit artistic violence of disruption in order to raise awareness of hidden social violence (Balona de Olivera 752). I do not agree that her artwork is violent or disruptive in relation to the space itself. In our vast world we see large advertised displays all around us. There is more violence viewed on television and in the news than viewed in a public setting. I believe her work is more about the message than the actual disruption of the space it occupies. She makes us stop and wonder what we are looking at and relays a message that is not spoon fed to us. When viewing her work, we are challenged to see the actual message behind the work. She tries to communicate messages that she feels are beneficial to society or ironic in nature. The images she chooses may or may not have anything to do with the text on top of the images. Kruger says, As long as pictures remain powerful, living conventions within culture, Ill continue to use them and turn them around (Squiers 148). Kruger knew that by using images in the mass media that they would capture the attention of the public eye. People associate certain images with certain meanings. To take these images out of context and place them with a different narrative can make people wonder if there is a true meaning behind an image or is it just what the media/society perceives it to be. Kruger uses black and white images that she has come across in magazines, advertisements and other media. She uses these images that arent her own but started to weave them with text to make them her own, which is called appropriation. Krugers work will be necessary to a visual representation for the 1980s, her influence now permeates all the forms of media culture that she appropriated (Garrard 263). Her juxtaposed images shaped how people view society. In Michael Foucaults thesis What is an Author A Lecture; he states, The modes of circulation, valorization, attribution and appropriation of discourses vary with each culture and are modified within each (Foucault 952). Krugers works are a reflection of corporate consumerism and are viewed daily by many people. As a consumer, it is evident that we are buying into corporate America and there is no sign telling us it happens all the time. Sometimes images we see stay with us and we can recognize them later in life. Through repetition and recognition of certaim images we see how they can that impact our social culture. Other images we see may have little or not impact on our lives. Working as a graphic designer, Kruger was aware of how certain images sell to a grand audience. In graphic design, the font you use depends on the message you are trying to convey in the advertisement. The font that Barbara uses is called Future Bold Italic. I appreciate the fact that Kruger uses the same font in every piece so the viewer cant convey a certain feeling or mood attributed with it, she lets the words do the talking. Even though her images are collaged, they possess a very graphic quality to them. Kruger uses the color red behind the text to invoke a range of feelings by the viewer. The color red can make people feel angry, loving, warm or powerful. Her color choices are something you would see in a newspaper or for marketing a brand like Coca-Cola during the 1980s. Again, her graphic design abilities came into play. By using these colors she could gravitate peoples attention to her work. These colors seem to resemble Russian constructivism but I do not think she was influenced by the art produced during that time. Kruger chooses larger than life public displays. She uses billboards, bus stops, posters and other remote areas. She also incorporates her work inside local settings. Her work is viewed in galleries, museums, and storefronts. Her artwork has also appeared in Rage Against the Machine videos and album covers. She is very flexible in the size of her work. She has worked as large as a 14 x 48 foot billboard or as small as a print on a coffee cup. She knows that if she displays these messages on a large scale that she could sell it on a smaller scale to consumers. Krugers artwork is sold as a commodity on T-shirts, postcards, bags and other paraphernalia. What better way to convey a message such as Dont be a Jerk then on your coffee cup. Kruger sets a discourse for other feminine artwork done in the 1970s. Kruger, like others, has voiced her concern not to illustrate theory; nevertheless, crucial notions that circulated within theory about the relations among sexuality, meaning and language found their way into these artists works (Linker 60). Krugers work represents typical feminine stereotypes as well as other stereotypical issues that existed during the 1980s. During the 1980s men were the ones fighting in the war in Iraq, while the women tended to the home. Though women had more rights than ever before in history, men and women still played independent roles in society. It wasnt until the 1990s that women began moving up the corporate ladder into a higher social status. Krugers image Untitled (Your body is a battleground) 1989 speaks for womens rights (figure 1). It is a photographic silkscreen on vinyl and is approximately 112112 inches. It is a vintage photograph of a woman who looks like a stereotypical housewife. The words Your body is a battleground lay across the image inside a red box. The woman in the photograph has a remarkably intent gaze. She also has subtle features and her face is split symmetrically revealing two different looking images. One side of her face is black and white where you are able to recognize her visual features. The other side of her face is reversed black and white. The features become mechanical and not easily recognizable. We are looking at the same women with two extremely different sides to her. It looks like she has a good side and bad side to her. One can note, on the other hand, the ideology of the spectacle as authorized by the dominant order, in which one part of society represents itself to the other, reinf orcing domination (Linker 61). The text relates to the struggles women have had about how they are portrayed in the media. This photo relates to how women may not feel human all the time in a male-dominated society. During the 1980s women were fighting for their own reproductive rights. They were preserving the womans right of choice to have an abortion against the pro-life movement. Kruger allowed a campaign by the Pro-Choice Public Education Project to adopt her style in a 1998 ad for abortion rights (Dieckmann 172). Kruger took this image to an even larger display for the art world. This image gained public awareness by letting women see that they should take control of their own bodies during this time in history (figure 2). This poster uses Krugers work and places more white text across red strips giving event information and campaigning for womens rights. At the bottom is a black box with white text discussing the Roe v.s. Wade verdict on abortion. By agreeing to let herself be copied for a cause, Kruger displayed yet another of her facets- call it Barbara Kruger, Anti-Author (Dieckmann 172). In other words Kruger has set out to take authorship away from this piece by letting her work spea k for a cause. The image was speaking for women and womens rights. The essay What is an Author A Lecture by Michael Foucault calls for the death of the author. He states, The author is the principle thrift in the proliferation of meaning; We must reverse the traditional idea of the author (Foucault 952). It is almost as if she let society appropriate her own work just as she was borrowing work from other media sources. Another example of Krugers work is Untitled, made in 1987 (figure 2). The image was placed on a billboard for the University of Art MATRIX program. It shows a girl impressively admiring a boy who is flexing his arm. The text reads We dont need another hero near the bottom of the piece. The word We suggests women. The text is white in a red strip extending all the way across the image. The photograph is also outlined in red. The text in this image may be in reference to a song written by Tina Turner in the late 1980s. The lyrics talk about children that are living in fear because they realize there is no such thing as a hero that will come and save them. The black and white photograph is reminiscent of Dick and Jane artwork done in the 1950s. Dick and Jane images are easily recognizable and are sold as a commodity; which may be why she chose to use this image. Kruger may also be trying to raise the roles of gender at an extremely young age. We shouldnt think of a boy being able to protect a girl at such a young age. Its enough to say when we are born, our roles in society are predetermined. As girls, we play with Barbie Dolls and we grew up being taught how to be gentle and loving as she is. Boys are taught to be aggressive and tough as their war figures and plastic weapons are made for fighting. Today Krugers work graces the cover of a consumer driven male-society. Although W magazine showcased many artist, Krugers work Untitled 2010 appeared on the cover of W magazine (figure 3). Krugers work included Kim Kardashians naked body with text reading Its all about you, I mean me, I mean you placed across parts of her body. The text across the image is broken into three sections: One section lays across her breast saying, Its all about me. This text implies that she is a reality superstar and is the perfect example of beauty. The second text lays across her midsection stating, I mean you. The text implies that women are trying to become this perfect women that they may see in a magazine. The third text is laying across her genital area and states, I mean me. The text implies that it was never about you it was all about her. Using Krugers powerful words leads us to obtain more information about why Kim Kardashian was used on the cover. Kruger has not talked about the work in detail or her intent. Kim Kardashian is using her sexuality to gain notoriety in the public eye. Barbara Krugers older work would fight against any imagery like this. Indeed, Krugers art is invariably directed at the manner in which visual mastery becomes aligned with difference or, more pointedly, at the way in which representations position women as objects of the male gaze (Linker 61). I believe Kruger is trying to deal with the issue of womens sexuality. I think she is realizing that sex sells in this new generation. Kruger challenges how celebrities are portrayed by the media though she may be condemned for doing so. Kruger is teasing the male audience by not putting her whole body on display. The play on words cover up any sexual connotations. Kim Kardashians body appears to be made plastic or airbrushed but none the less perfect. In the essay From Visual Pleasure Narrative Cinema Laura Mulvey states, Women, then, stands in patriarchal culture as a signifier for the male other, bound by a symbolic order in which man can live out his fantasies through linguistic command by imposing them on women still tied to her place as bearer of meaning, not maker of meaning (Mulvey 983). This is true in that past artwork depicted women as sensual objects and their bodies were put on display for the male viewer. A major source of pleasure for the viewer is scopophilia. Mulvey states, The cinema offers a number of possible pleasures: one is scopophilia [à ¢Ã¢â€š ¬Ã‚ ¦] which is also described by Freud, in Mulveys article as Taking people as objects, subjecting them to a controlling and curious gaze.(Mulvey 984). I think women are portrayed in the media as objects of attraction. If you look at the front cover of a magazine it always has a women staring at the viewer. Also there is some sexual aspect of her body becomes a secondary focal point. Though some of these magazines may be reproduced for women, men also get a visual pleasure from looking at them. As a woman, if I were to use this image and put it on my fridge to look at everyday, I would have to admit that I could never be this person. But many women believe that this is reality because they believe in order to gain a mans attention your body has to look like a women in a magazine. Kim Kardashians body image is a false reality fueled by the mass media. In conclusion, Krugers work is similarly fueled by the mass media. Using re-occurring ideological messages to communicate her ideas the themes of gender, sex, consumerism, greed and power, she criticizes everything that she feels is wrong with the society we live in and uses larger than life images to get her message across to mass populations.

The Host Chapter 2: Overheard

The voices were soft and close and, though I was only now aware of them, apparently in the middle of a murmured conversation. â€Å"I'm afraid it's too much for her,† one said. The voice was soft but deep, male. â€Å"Too much for anyone. Such violence!† The tone spoke of revulsion. â€Å"She screamed only once,† said a higher, reedy, female voice, pointing this out with a hint of glee, as if she were winning an argument. â€Å"I know,† the man admitted. â€Å"She is very strong. Others have had much more trauma, with much less cause.† â€Å"I'm sure she'll be fine, just as I told you.† â€Å"Maybe you missed your Calling.† There was an edge to the man's voice. Sarcasm, my memory named it. â€Å"Perhaps you were meant to be a Healer, like me.† The woman made a sound of amusement. Laughter. â€Å"I doubt that. We Seekers prefer a different sort of diagnosis.† My body knew this word, this title:Seeker. It sent a shudder of fear down my spine. A leftover reaction. â€Å"I sometimes wonder if the infection of humanity touches those in your profession,† the man mused, his voice still sour with annoyance. â€Å"Violence is part of your life choice. Does enough of your body's native temperament linger to give you enjoyment of the horror?† I was surprised at his accusation, at his tone. This discussion was almost like an argument. Something my host was familiar with but that I'd never experienced. The woman was defensive. â€Å"We do not choose violence. We face it when we must. And it's a good thing for the rest of you that some of us are strong enough for the unpleasantness. Your peace would be shattered without our work.† â€Å"Once upon a time. Your vocation will soon be obsolete, I think.† â€Å"The error of that statement lies on the bed there.† â€Å"One human girl, alone and unarmed! Yes, quite a threat to our peace.† The woman breathed out heavily. A sigh. â€Å"But where did she come from? How did she appear in the middle of Chicago, a city long since civilized, hundreds of miles from any trace of rebel activity? Did she manage it alone?† She listed the questions without seeming to seek an answer, as if she had already voiced them many times. â€Å"That's your problem, not mine,† the man said. â€Å"My job is to help this soul adapt herself to her new host without unnecessary pain or trauma. And you are here to interfere with my job.† Still slowly surfacing, acclimating myself to this new world of senses, I understood only now that I was the subject of the conversation. I was the soul they spoke of. It was a new connotation to the word, a word that had meant many other things to my host. On every planet we took a different name.Soul. I suppose it was an apt description. The unseen force that guides the body. â€Å"The answers to my questions matter as much as your responsibilities to the soul.† â€Å"That's debatable.† There was the sound of movement, and her voice was suddenly a whisper. â€Å"When will she become responsive? The sedation must be about to wear off.† â€Å"When she's ready. Leave her be. She deserves to handle the situation however she finds most comfortable. Imagine the shock of her awakeninginside a rebel host injured to the point of death in the escape attempt! No one should have to endure such trauma in times of peace!† His voice rose with the increase of emotion. â€Å"She is strong.† The woman's tone was reassuring now. â€Å"See how well she did with the first memory, the worst memory. Whatever she expected, she handled this.† â€Å"Why should she have to?† the man muttered, but he didn't seem to expect an answer. â€Å"Needbeing your word. I would choose the termwant. â€Å" â€Å"Then someone must take on the unpleasantness,† she continued as if he had not interrupted. â€Å"And I think, from all I know of this one, she would accept the challenge if there had been any way to ask her. What do you call her?† The man didn't speak for a long moment. The woman waited. â€Å"Wanderer,† he finally and unwillingly answered. â€Å"Fitting,† she said. â€Å"I don't have any official statistics, but she has to be one of the very few, if not the only one, who has wandered so far. Yes,Wanderer will suit her well until she chooses a new name for herself.† He said nothing. â€Å"Of course, she may assume the host's name. We found no matches on record for the fingerprints or retinal scan. I can't tell you what that name was.† â€Å"She won't take the human name,† the man muttered. Her response was conciliatory. â€Å"Everyone finds comfort their own way.† â€Å"This Wanderer will need more comfort than most, thanks to your style of Seeking.† There were sharp soundsfootsteps, staccato against a hard floor. When she spoke again, the woman's voice was across the room from the man. â€Å"You would have reacted poorly to the early days of this occupation,† she said. â€Å"Perhaps you react poorly to peace.† The woman laughed, but the sound was falsethere was no real amusement. My mind seemed well adapted to inferring the true meanings from tones and inflections. â€Å"You do not have a clear perception of what my Calling entails. Long hours hunched over files and maps. Mostly desk work. Not very often the conflict or violence you seem to think it is.† â€Å"Ten days ago you were armed with killing weapons, running this body down.† â€Å"The exception, I assure you, not the rule. Do not forget, the weapons that disgust you are turned on our kind wherever we Seekers have not been vigilant enough. The humans kill us happily whenever they have the ability to do so. Those whose lives have been touched by the hostility see us as heroes.† â€Å"You speak as if a war were raging.† â€Å"To the remains of the human race, one is.† These words were strong in my ears. My body reacted to them; I felt my breathing speed, heard the â€Å"But one that even they must realize is long lost. They are outnumbered by what? A million to one? I imagine you would know.† â€Å"We estimate the odds are quite a bit higher in our favor,† she admitted grudgingly. The Healer appeared to be content to let his side of the disagreement rest with that information. It was quiet for a moment. I used the empty time to evaluate my situation. Much was obvious. I was in a Healing facility, recovering from an unusually traumatic insertion. I was sure the body that hosted me had been fully healed before it was given to me. A damaged host would have been disposed of. I considered the conflicting opinions of the Healer and the Seeker. According to the information I had been given before making the choice to come here, the Healer had the right of it. Hostilities with the few remaining pockets of humans were all but over. The planet called Earth was as peaceful and serene as it looked from space, invitingly green and blue, wreathed in its harmless white vapors. As was the way of the soul, harmony was universal now. The verbal dissension between the Healer and the Seeker was out of character. Strangely aggressive for our kind. It made me wonder. Could they be true, the whispered rumors that had undulated like waves through the thoughts of the of the I was distracted, trying to find the name for my last host species. We'd had a name, I knew that. But, no longer connected to that host, I could not remember the word. We'd used much simpler language than this, a silent language of thought that connected us all into one great mind. A necessary convenience when one was rooted forever into the wet black soil. I could describe that species in my new human language. We lived on the floor of the great ocean that covered the entire surface of our worlda world that had a name, too, but that was also gone. We each had a hundred arms and on each arm a thousand eyes, so that, with our thoughts connected, not one sight in the vast waters went unseen. There was no need for sound, so there was no way to hear it. We tasted the waters, and, with our sight, that told us all we needed to know. We tasted the suns, so many leagues above the water, and turned their taste into the food we needed. I could describe us, but I could not name us. I sighed for the lost knowledge, and then returned my ponderings to what I'd overheard. Souls did not, as a rule, speak anything but the truth. Seekers, of course, had the requirements of their Calling, but between souls there was never reason for a lie. With my last species' language of thought, it would have been impossible to lie, even had we wanted to. However, anchored as we were, we told ourselves stories to alleviate the boredom. Storytelling was the most honored of all talents, for it benefited everyone. Sometimes, fact mixed with fiction so thoroughly that, though no lies were told, it was hard to remember what was strictly true. But there were whispers of this: of human hosts so strong that the souls were forced to abandon them. Hosts whose minds could not be completely suppressed. Souls who took on the personality of the body, rather than the other way around. Stories. Wild rumors. Madness. But that seemed almost to be the Healer's accusation. I dismissed the thought. The more likely meaning of his censure was the distaste most of us felt for the Seeker's Calling. Who would choose a life of conflict and pursuit? Who would be attracted to the chore of tracking down unwilling hosts and capturing them? Who would have the stomach to face the violence of this particular species, the hostile humans who killed so easily, so thoughtlessly? Here, on this planet, the Seekers had become practically a militiamy new brain supplied the term for the unfamiliar concept. Most believed that only the least civilized souls, the least evolved, the lesser among us, would be drawn to the path of Seeker. Still, on Earth the Seekers had gained new status. Never before had an occupation gone so awry. Never before had it turned into a fierce and bloody battle. Never before had the lives of so many souls been sacrificed. The Seekers stood as a mighty shield, and the souls of this world were thrice-over indebted to them: for the safety they had carved out of the mayhem, for the risk of the final death that they faced willingly every day, and for the new bodies they continued to provide. Now that the danger was virtually past, it appeared the gratitude was fading. And, for this Seeker at least, the change was not a pleasant one. It was easy to imagine what her questions for me would be. Though the Healer was trying to buy me time to adjust to my new body, I knew I would do my best to help the Seeker. Good citizenship was quintessential to every soul. So I took a deep breath to prepare myself. The monitor registered the movement. I knew I was stalling a bit. I hated to admit it, but I was afraid. To get the information the Seeker needed, I would have to explore the violent memories that had made me scream in horror. More than that, I was afraid of the voice I'd heard so loudly in my head. But she was silent now, as was right. She was just a memory, too. I should not have been afraid. After all, I was called Wanderer now. And I'd earned the name. With another deep breath, I delved into the memories that frightened me, faced them head-on with my teeth locked together. I could skip past the endit didn't overwhelm me now. In fast-forward, I ran through the dark again, wincing, trying not to feel. It was over quickly. Once I was through that barrier, it wasn't hard to float through less-alarming things and places, skimming for the information I wanted. I saw how she'd come to this cold city, driving by night in a stolen car chosen for its nondescript appearance. She'd walked through the streets of Chicago in darkness, shivering beneath her coat. The words came slower and slower, and at first I did not understand why. Was this forgotten? Lost in the trauma of an almost death? Was I still sluggish from unconsciousness? I struggled to think clearly. This sensation was unfamiliar. Was my body still sedated? I felt alert enough, but my mind labored unsuccessfully for the answers I wanted. I tried another avenue of searching, hoping for clearer responses. What was her goal? She would find SharonI fished out the nameand they would I hit a wall. It was a blank, a nothing. I tried to circle around it, but I couldn't find the edges of the void. It was as if the information I sought had been erased. As if this brain had been damaged. Anger flashed through me, hot and wild. I gasped in surprise at the unexpected reaction. I'd heard of the emotional instability of these human bodies, but this was beyond my ability to anticipate. In eight full lives, I'd never had an emotion touch me with such force. I felt the blood pulse through my neck, pounding behind my ears. My hands tightened into fists. The machines beside me reported the acceleration of my heartbeats. There was a reaction in the room: the sharp tap of the Seeker's shoes approached me, mingled with a quieter shuffle that must have been the Healer. â€Å"Welcome to Earth, Wanderer,† the female voice said.

Marx and Nietzsche

In these paragraphs Marx takes into consideration the first ‘illusion of German Ideology’ and questions it validity. German philosophy based its premises about human consciousness on idealism whereas Marx develops it from the material existence of humans.   He says that ‘[t]he premises from which we begin are not arbitrary ones, not dogmas, but real premises†¦Ã¢â‚¬â„¢ (Marx, p. 311), these premises are based on â€Å"the real individuals, their activity and the material conditions under which they live† (p. 311) whereas German premises does not originate from human existence but is a production of mental exercise. Marxian method is historical materialism but it does not mean that it is not based on premises but unlike German premises, it is based on real life. So Marx says; ‘In direct contrast to German philosophy which descends from heaven to earth, here we ascend from earth to heaven. That is to say, we do not set out from what men say, imagine, conceive, nor from men as narrated, thought of, imagined, conceived, in order to arrive at men in the flesh. We set out from real, active men, and on the basis of their real life-process we demonstrate the development of the ideological reflexes and echoes of this life-process.’ (Marx, p. 315) Marx is of the view that primarily human beings are productive as they must develop a system of production to comply with their means of subsistence and only hence they can satisfy their material needs. This necessity generates a chain reaction i.e. new needs and new production. And these productive forces and processes develop the social existence of human being. So it is the material life that determines the social life of humans. So materialism directs the social and hence the human consciousness. â€Å"Consciousness is, therefore, from the very beginning a social product, and remains so as long as men exist at all.† (Marx, p. 317) According to Nietzsche, Greek Tragedy was evolved from the traditional chorus that was innovative and original drama evolved from Greek ritualism.—Nietzsche refutes   Aristotelian theory pertaining to origin of Greek tragedy and rests his premises on the theory of Schiller. Schiller theory is of the view that chorus is a living wall that has enveloped the Greek tragedy in order to detach itself from the real world and its realities. And thus it has retained its poetic autonomy and saved itself from naturalism. â€Å"The satyr, as the dionysian chorist, lives in a religiously acknowledged reality under the sanction of myth and cult.† (Nietzsche, p. 322) Chorus, an epitome of myth and cult of religions becomes the basic of Greek Tragedy in opposition to naturalism prevailing in the contemporary intellectual world. The tragedy chorus replicates this natural occurrence in an artistic way. Nietzsche illustrates that tragedy as an art form is valuable for humanity. In contrast to Schopenhauer, Nietzsche demonstrates that tragedy as the art form of corporeal recognition and approval of pathos and miseries of life and exulting in these harsh realities adoration of pre-destination. Apollonian and Dionysian differences on Tragedy stem from their intellectual differentiations and practical manifestation of this form of art. Nietzsche is of the view that tragedy is endangered when music is discarded. To Nietzsche, Apollonian music was â€Å"Doric architecture in sonic mode† but Dionysian music was of supreme kind with poignant power of sound and melodious current. Nietzsche further points out the differences between the Dionysos and Socrates thematic expression. Overall, Nietzsche considers tragedy as beautiful fusion and manifestation of Dionysian astuteness and Apollonian art.

80s Rock Hall of Fame Candidates