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Dionysos Rising: The Birth of Cultural Revolution Out of the Spirit of Music [Paperback]

By E. Michael Jones (Author)
Our Price $ 14.41  
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Item Number 126579  
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Item Specifications...

Pages   204
Est. Packaging Dimensions:   Length: 9.1" Width: 6.12" Height: 0.83"
Weight:   0.77 lbs.
Binding  Softcover
Release Date   Mar 31, 1994
Publisher   Ignatius Press
ISBN  0898704847  
EAN  9780898704846  
UPC  008987048473  

Availability  0 units.

Item Description...
Dionysos Rising: The Birth of Cultural Revolution Out of the Spirit of Music by E. Michael Jones

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More About E. Michael Jones

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E. Michael Jones is editor of Culture Wars magazine, and author of many books, including Libido Dominandi: Sexual Liberation and Political Control from St. Augustine s Press.


E. Michael Jones currently resides in South Bend, in the state of Indiana.

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Reviews - What do our customers think?
In response to "A customer"  Feb 22, 2008
Not a single example is given for the accusation contained in the first paragraph of this review.
As to the material on the Bacchae - there is no inherent contradiction between what the reviewer says and what Jones says (very briefly right at the end of the book). Jones is chiefly concerned to portray impiety and is interested in particular in what Dionysus represents. He does not address the wider issues of the play but I believe nothing he says contradicts them - read again what Jones says.
Perhaps the reviewer, instead of hurling around acusations of "fuzzy" thinking (+ re. the Medjugorje review - no evidence given yet again) should try to back up what he says and address the central theses of the books he claims to have read.
Jones reaches...and grabs hold of some truths  Nov 10, 2004
The negative reviewers have a point; Jones' rough-and-ready version of history fails to fill in the gaps of the entire lives of his subjects. However, they too, in their lack of historical comprehension fail to see (the critical) something: that his basic theses, that these revolutionary men (the former reviewers do not even understand this _historical_ term!) had a profound effect on our culture, and were in turn profoundly affected by their vital deviancies, are correct. Shame on them for writing such poor reviews.
What we know is true but don't want to admit  Sep 15, 2004
My difficulty with reading this book the first time as a Yale grad student in 1994 was that I had a conservative worldview when it came to everything but music. I knew deep down inside that Jones was onto something, but I couldn't bring myself to admit it, because I was so close to my music. Now that I am a bit older and have gone back and re-read the book--and now that I am further from adolescence and from my music--I see that what he was saying is on the mark. If you start with a more liberal set of cultural assumptions about culture and the arts, you will disagree with Jones. However, if you have a basic conservative worldview and don't like this book, it's probably because you're going with your heart and not your head.
Jones really doesn't understand Schoenberg  May 26, 2004
E. Michael Jones has written much on the problems of modernism and the modern world. Gropius and his cohorts have given us an architecture that is bland in the extreme. The sexual revolution has caused untold harm. I admire and respect some of his earlier work, but I really must disagree with Jones with respect to Arnold Schoenberg.

Schoenberg was in many ways a traditionalist. Despite his often groundbreaking work, and with exceptions such as the Five Orchestral Pieces, he kept Brahmsian rhythms and more or less worked in classical forms. This is especially true of Schoenberg's last period. Schoenberg did not see himself as a revolutionary. He saw himself as one carrying on the Austro-German school of composition, a school that he viewed as absolutely central to music as a whole. It was his hope that his new theories of composition would maintain the dominance of the Austro-German school for at least a hundred years.

This has not happened. If anything, Schoenberg, Berg, and Webern are the summation of the Austro-German school of composition. Schoenberg was at the heart of the Austro-German school.

Jones, in stating that Schoenberg ventured into atonality because of an unfaithful spouse, really is taking things too far. I don't think that he adequately understands Schoenberg's place in music. It is a pity because rock music and other forms of popular music have been terribly destructive as he rightly points out. Unfortunately, Jones does not posess an adequate understanding of the traditionalist roots of Arnold Schoenberg.

Not as good as "Degenerate Moderns". . .  Nov 21, 2002
. . .but important nevertheless.

In his first book, Jones postulated that much of the decay of modernism could be traced to the sinful rationalizations of evil behavior by Freud, Jung, and others. In this volume, Jones tackles the role of modern music in this societal decay. The chapter on Wagner was very good -- although not nearly enough was said about the importance of Wagner's later work (which caused an irreparable break with Nietzche.

The chapters on Nietzche and Schonberg were informative -- but one got the impression that material was being repeated over and over. A bit of editorial direction would have helped here.

When Jones gets into modern pop music, his argument is both strengthened and weakened. Strengthened by the truly uncontrolled behavior of many of today's rock musicians (to say nothing of the lyrics). Weakened in the attempt to lump pretty much ALL jazz and pop into one category -- a serious mistake in my estimation.

All in all, however, a good book -- but not as good as his first.


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