dualistic approach to finding a resolution via gender, ironically another dichotomy is encountered – the opposition between sex and the new terminology of gender forms yet another dichotomy. For many theorists in this area, sex is seen to be real (nature) and gender is artificial (culture). In terms of relating sex and/or gender back to the original Apollo/Dionysus dichotomy, this duality could also be easily compared. Gender, as an artificial and hence cultural construct, could be linked back to the supra-rational Apollonian sphere. Sex, as the more natural category of definition would lie in the realm of the Dionysian. It is worth noting at this point that Nietzsche himself, at the beginning of the Birth of Tragedy likens the contrast of the Apollonian and the Dionysian elements to that of the sexes: ‘the continuous development of art is bound up with the Apollonian and Dionysian reality: just as procreation depends on the duality of the sexes, involving perpetual strife with only periodically intervening reconciliations.’ The fact that even at the earliest stage of his formation of this core concept in his philosophy, Nietzsche is aware enough of the similarities between the two rival deities and the relationship between the sexes that he chooses to employ this metaphor hints at the possibility of this association being evident to Nietzsche even at the time of its composition. However, this is merely a metaphor, not a tautological statement – for there is in truth no clear boundary between the Apollonian nature and the Dionysian nature; there is always within one an element of the other, for as Nietzsche says “There is no Dionysian appearance [Schein] without an Apollonian reflection [Wierderschein]” . Therefore, if the