By Nietzsche, Friedrich Wilhelm; Socrates.; Jovanovski, Thomas; Socrates., Socrates; Nietzsche, Friedrich Wilhelm
During this provocative paintings, Thomas Jovanovski offers a contrasting interpretation to the postmodernist and feminist analyzing of Nietzsche. As Jovanovski continues, Nietzsche’s written inspiration is primarily 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 desire 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ethic and aesthetic path grounded in cause, technology, and optimism, so does Nietzsche regard the rebirth of an outdated tragic mythos because the car towards a cultural, political, and non secular metamorphosis of the West. despite the fact that, Jovanovski contends that Nietzsche doesn't suggest this type of radical social turning as an result in itself, yet as basically the main consequential prerequisite to figuring out the culminating item of his «historical philosophizing» - the outstanding visual appeal of the Übermensch
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Additional info for Aesthetic transformations : taking Nietzsche at his word
Here he emphasizes that a “tremendous hope speaks out of this essay [The Birth of Tragedy],” and that, ultimately, he lacks “all reason to renounce the hope for a Dionysian future of music” (III “BT” 4). Nietzsche’s reason for adding these Sections now becomes unmistakable: His aim is to rescue Germany not only from the grasp of Alexandrian intellectualism, but also, with Wagner’s help, from the gathering threat of the Gründerzeit, and from its “prolonged degradation in which the German genius has lived, estranged from house and home, in the service of vicious dwarfs [namely, Christian priests]” (BT 24).
The countermovement: art” (ibid. 794). qxd 5/9/07 6:53 AM Page 5 the chiaroscuro of nietzsche’s aesthetics 5 Having delineated beauty as a psycho-physiological self-overcoming, let us now see how Nietzsche’s aesthetics might be adopted as a schema for forging a radically different existential course through the sea of possibilities immediately following the death of God. But, surely, some might protest, this betrays a misunderstanding; for other than claiming that insofar as existence and the world are continuously justified as aesthetic phenomena, which is to say that the vacuum created by God’s demise would not necessarily culminate in nihilism, Nietzsche presents us with no distinct aesthetic doctrine.
It is true that Nietzsche completed his first major text by the beginning of 1871 and titled it Greek Cheerfulness. ” The latter’s focus and objective were thus notably expanded, and its “weight . . [was] now thrown on the argument that Wagnerian music-drama is a rebirth of antique tragedy, and if we had no other evidence this alone would suffice to show how far Nietzsche had succumbed to Wagner’s influence” (1965 97–8). ” Still, let us pursue the matter a bit further. qxd 5/9/07 6:53 AM Page xxxi introduction: nietzsche ’ s aesthetic turn xxxi suggests that he was under Wagner’s musical spell, let us assume that Hollingdale’s scenario captures exactly what took place.
Aesthetic transformations : taking Nietzsche at his word by Nietzsche, Friedrich Wilhelm; Socrates.; Jovanovski, Thomas; Socrates., Socrates; Nietzsche, Friedrich Wilhelm