Aesthetic transformations : taking Nietzsche at his word by Nietzsche, Friedrich Wilhelm; Socrates.; Jovanovski, Thomas; PDF

By Nietzsche, Friedrich Wilhelm; Socrates.; Jovanovski, Thomas; Socrates., Socrates; Nietzsche, Friedrich Wilhelm

ISBN-10: 0820420026

ISBN-13: 9780820420028

ISBN-10: 1453905944

ISBN-13: 9781453905944

During this provocative paintings, Thomas Jovanovski provides a contrasting interpretation to the postmodernist and feminist studying of Nietzsche. As Jovanovski continues, Nietzsche’s written inspiration is in particular a sustained exercise geared toward negating and superseding the (primarily) Socratic ideas of Western ontology with a brand new desk of aesthetic ethics - ethics that originate from the Dionysian perception of Aeschylean tragedy. simply because the Platonic Socrates perceived a urgent want for, and succeeded in constructing, a brand new world-historical ethic and aesthetic path grounded in cause, technology, and optimism, so does Nietzsche regard the rebirth of an previous tragic mythos because the motor vehicle towards a cultural, political, and non secular metamorphosis of the West. notwithstanding, Jovanovski contends that Nietzsche doesn't recommend one of these radical social turning as an lead to itself, yet as merely the main consequential prerequisite to understanding the culminating item of his «historical philosophizing» - the exceptional visual appeal of the Übermensch

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During this provocative paintings, Thomas Jovanovski provides a contrasting interpretation to the postmodernist and feminist examining of Nietzsche. As Jovanovski keeps, Nietzsche’s written suggestion is notably a sustained pastime aimed toward negating and superseding the (primarily) Socratic ideas of Western ontology with a brand new desk of aesthetic ethics - ethics that originate from the Dionysian perception of Aeschylean tragedy.

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His attempt to persuade us to “regard art and the beautiful” “from the point of view of the artist (the creator),” not from “that of the ‘spectator,’ ” pits Nietzsche against the universal and impersonal character of Kant’s “aesthetic problem” (GM III 6) and against the “woman’s aesthetics” of “the receivers of art [who] have formulated their experience of ‘what is beautiful’ ” (WP 811). He encapsulates the nature of his “active” aesthetics with the following staccato description of why artists produce beauty: ‘Beauty’ is for the artist something outside all orders of rank, because in beauty opposites are tamed; the highest sign of power, namely power over opposites; moreover, without tension:—that violence is no longer needed; that everything follows, obeys, so easily and so pleasantly—that is what delights the artist’s will to power.

And of these such as have purified themselves sufficiently by philosophy live thereafter altogether without bodies, and reach habitations even more beautiful, which is not easy to portray. . ’ (WP 55) What, if some day or night a demon were to steal after you into your loneliest loneliness and say to you: ‘This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence.

It is not hard to imagine Nietzsche adding passages of this modest length in the final weeks, especially if he had continued to work on the ‘whole last part’ of the book during the summer. . Be that is it may, our main conclusion must be that the traditional claim about the last (‘Wagnerian’) part is unsubstantiated. . In discussing the ‘Wagnerian’ aspect of the book, we should in any case remember that during the later part of 1871 Nietzsche actually reduced the extent of Wagner’s presence in it, rather than increased it.

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Aesthetic transformations : taking Nietzsche at his word by Nietzsche, Friedrich Wilhelm; Socrates.; Jovanovski, Thomas; Socrates., Socrates; Nietzsche, Friedrich Wilhelm


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