provides a critical principle and transcending perspective on the culture-spheres as culture-spheres, including religion as a culture-sphere along with those of science, morality and art. To further clarify the distinction between the two types, Religiousness A could be best described as an externalized mode, in which rituals and the regulations of social roles play a part. By contrast, in Religiousness B the stress is not so great on that of the communal role (or principle of communitas as it would be called by Victor Tuner) but is instead more reliant on the role of the individual. What matters in Religiousness Type B is the principle of being religious itself, and not the adherence to doctrines and practices formulated as in Religiousness Type A. What is being expressed by these two polarities, if indeed they are such, is a pattern of religious thinking which is quite similar in its bipolar opposition to the contrasting roles of Apollo and Dionysus, which formed the basis of Nietzsche’s work, The Birth of Tragedy. Not only did this idea have great impact on Nietzsche’s own work, but it has come to be widely regarded in other areas – its impact can still be felt in the art world and the journals of philosophy. Why, though, is this theory of Nietzsche’s connected to Religiousness Type A and B? To answer fully this question one first need to understand the roles of the two gods he used to draw this dichotomy with. Firstly, they both are gods of aesthetics. They occupy similar roles – but one (Apollo) is the god of Sculpture, of art with form. Dionysus, by contrast presides over music – his influence is unseen; it is only heard or felt. What he represents cannot be captured in form, for even in his role as the God of the Theatre, he is