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

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

During this provocative paintings, Thomas Jovanovski provides a contrasting interpretation to the postmodernist and feminist studying of Nietzsche. As Jovanovski keeps, Nietzsche’s written idea is specifically a sustained activity geared toward negating and superseding the (primarily) Socratic rules 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ethic and aesthetic path grounded in cause, technology, and optimism, so does Nietzsche regard the rebirth of an outdated tragic mythos because the automobile towards a cultural, political, and spiritual metamorphosis of the West. notwithstanding, Jovanovski contends that Nietzsche doesn't recommend this sort of radical social turning as an result in itself, yet as in basic terms the main consequential prerequisite to figuring out the culminating item of his «historical philosophizing» - the exceptional visual appeal of the Übermensch

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Where the state ends—look there, my brothers! Do you not see it, the rainbow and the bridges of the overman? (TSZ I 11) Fourth Antinomy Thesis The meaning and aim of existence can be properly understood only if they are explained in teleological terms, that is, only if we think of the soul as eventually coming to rest in an otherworldly realm. Antithesis Life has neither an extra-terrestrial meaning nor an extra-terrestrial continuity, but must be thought of as a series of eternal repetitions. qxd 5/9/07 6:53 AM Page xlv introduction: nietzsche ’ s aesthetic turn Proof When the newly dead reach the place to which each is conducted by his guardian spirit, first they submit to judgment, both those who have lived well and holily, and those who have not.

This is not to say that behind Nietzsche’s rejection of Kant’s moral and Hegel’s religious forms of conservatism one finds a more receptive attitude toward Marx’s revolutionary ideology. On the contrary, Nietzsche informs us that it is “the socialist rabble” whom he “hate[s]” most (ibid. qxd 5/9/07 xxxvi 6:53 AM Page xxxvi aesthetic transformations logical conclusion of the tyranny of the least and the dumbest,” he declares, and insofar as it seeks to abolish the “instinct” to own personal possessions, socialism hides, “rather badly, a ‘will to negate life’ ” (WP 125).

Insofar as] [a]ny given aphorism or essay might as easily have been placed in one volume as in another without much affecting the unity or structure of either” (1970 19). Despite its lack of stylistic fastidium, however, The Birth of Tragedy remains Nietzsche’s best internally structured work: It begins with an analysis of classical tragedy (Sections 1–9), then proceeds to identify and denounce the two most prominent culprits who managed to drive Dionysus off the tragic stage (Sections 10–20), and finally introduces the musical genius most capable of reawakening the wine god’s dormant spirit (Sections 19–25).

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