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 interpreting of Nietzsche. As Jovanovski continues, Nietzsche’s written concept is mainly a sustained pastime 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 setting up, a brand new world-historical ethic and aesthetic course grounded in cause, technology, and optimism, so does Nietzsche regard the rebirth of an outdated tragic mythos because the car towards a cultural, political, and non secular metamorphosis of the West. in spite of the fact that, Jovanovski contends that Nietzsche doesn't suggest the sort of radical social turning as an lead to itself, yet as in simple terms the main consequential prerequisite to knowing the culminating item of his «historical philosophizing» - the outstanding visual appeal of the Übermensch
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Additional resources for Aesthetic transformations : taking Nietzsche at his word
If anything, Nietzsche continues, Wagner’s presence in the book obscures the latter’s “really valuable” “instruction about how the Greeks got over their pessimism, how they overcame it” (EH III “BT” 1). Reflecting on his former intellectual affinity, Nietzsche concedes: A psychologist might still add that what I heard as a young man listening to Wagnerian music really had nothing to do with Wagner; that when I described Dionysian music I described what I had heard—that instinctively I had to transpose and transfigure everything into the new spirit that I carried in me.
Is this a reflection of Nietzsche’s idea that when Euripides abandoned Dionysus, Apollo abandoned Euripides? In an important sense, yes, though, granted, the relationship of these individuals to Apollo is somewhat different. ” (ii) There is, I rather hasten to add here, hardly anything special or original in my observation that aesthetic Socratism quickly evolved into a viable current of its own and thus separated from, and put itself in determined opposition to, its Apollinian cradle. In The Birth of Tragedy, for example, Nietzsche points to the “Socratic love of knowledge,” the Apollinian “seductive veil of beauty,” and the Dionysian “metaphysical comfort that beneath the whirl of phenomena eternal life flows on indestructibly,” as the “three stages of illusion” in whose light humans compel themselves to live on (18).
Let us not be deceived either in the Kantian or in the Hegelian manner,” he warns. “We no longer believe in morality, as they did, and consequently we have no need to found a philosophy with the aim of justifying morality” (WP 415). In fact, it is Kant’s categorical imperative at which Nietzsche directs some of his most caustic words, calling it “the very recipe for decadence, even for idiocy”; after all, any virtue “prompted solely by a feeling of respect for the concept of ‘virtue,’ ” rather than one which is “our own invention” and “self-expression,” is “harmful” (A 11).
Aesthetic transformations : taking Nietzsche at his word by Nietzsche, Friedrich Wilhelm; Socrates.; Jovanovski, Thomas; Socrates., Socrates; Nietzsche, Friedrich Wilhelm