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 examining of Nietzsche. As Jovanovski keeps, Nietzsche’s written proposal is particularly a sustained exercise 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. simply because the Platonic Socrates perceived a urgent want for, and succeeded in setting up, a brand new world-historical ethic and aesthetic course grounded in cause, technological know-how, and optimism, so does Nietzsche regard the rebirth of an outdated tragic mythos because the automobile towards a cultural, political, and non secular metamorphosis of the West. despite the fact that, Jovanovski contends that Nietzsche doesn't suggest one of these radical social turning as an lead to 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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Extra resources for Aesthetic transformations : taking Nietzsche at his word
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. (ibid. qxd 5/9/07 xxxii 6:53 AM Page xxxii aesthetic transformations the reanimation of the German culture which was at the time floundering in its own decadence. Perhaps the decisive piece of evidence that simultaneously refers to the preceding and speaks against Hollingdale’s undervaluation of Sections 16 through 25 is encountered in Ecce Homo, or, more specifically, in Nietzsche’s final analysis of his corpus.
In “every case” of the beautiful and the ugly, Nietzsche concludes, “it is a question of the conditions of preservation of a certain type of man: thus the herd man will experience the value feeling of the beautiful in the presence of different things than will the exceptional or overman” (WP 804). The bottom line of these passages is clear: An individual’s embodiment of physical and psychological balance is a reflection of health, of nobility, of the sublime. Since, then, most persons are a failure with an overdeveloped instinct for self-preservation, we would have no alternative but, assuming we wished to dramatically raise humankind’s level of being, to compel everyone into beauty by just about any means possible.
Lastly, Nietzsche’s slighting assessment, and disinclination to undertake any sustained defense, of The Birth of Tragedy is undoubtedly energized by his growing aversion to Wagner’s burgeoning nationalistic and proChristian tendencies, and also by his partial turn away from Schopenhauer’s relentless pessimism. ) His mental reservations about its stylistic integrity notwithstanding, Nietzsche is aware that with The Birth of Tragedy he has significantly enriched the world’s literature surrounding the subject of art.