By Ann Ward
Socrates and Dionysus engages and seeks to redraw the limits among philosophy and poetry, technological know-how and artwork. Friedrich Nietzsche argues in his paintings The beginning of Tragedy that technological know-how conquers paintings, in particular the tragic paintings of the Dionysian poet of old Greece. beautiful to the ordinary, primeval self that's suppressed yet no longer extinguished via the data of tradition, Dionysian tragedy establishes touch with bodies and their inner most longings. technology and philosophy, linked to the 'Socratism' of the theoretical guy, have a good time the human brain particularly and the brain or rationality of the universe extra in most cases. in accordance with Nietzsche, it's Euripides who destroys the Dionysian completely. Euripides celebrated the unadorned person simply because purely the person, separated from their god, is intelligible or obtainable to human cause; he insisted that artwork be comprehended through brain or that it's rationally understood. Euripides used to be possessed of this kind of rationalizing force, Nietzsche claims, simply because his fundamental viewers was once Socrates. it truly is Socrates, accordingly, who's the genuine opponent of Dionysus. Following Nietzsche's bifurcation among philosophy and paintings, postmodern political thinker Richard Rorty rejects the tendency of philosophy to posit absolute, common truths and turns to the idea that of 'redescription' which he affiliates with the 'wisdom of the novel'. the radical is sensible since it posits the relative truths and views of a number of the participants, societies and cultures that it represents. As an artwork shape, it may well for this reason contain each attainable point of view of each specific scenario, occasion or individual. New interdisciplinary fields in politics, literature and picture are giving upward push to an increasing neighborhood of students who disagree with the ways taken via Nietzsche and Rorty. those students are laying off gentle at the ways that philosophy and paintings are pals instead of enemies. They search to bridge the theoretical and moral gaps among the realm of 'fiction' and the realm of 'fact', of artwork and technological know-how. There seems to be a primary rigidity among literary-artistic and clinical initiatives. while the artist seeks to recreate human adventure, thereby evoking easy moral concerns, the scientist it seems that seeks ethically-neutral, evidence-based proof because the parts of our wisdom of fact. Chapters during this quantity, in spite of the fact that, will re-evaluate how artists, philosophers and film-makers have addressed and tried to reconcile the artist's language of normativity and the scientist's language of facticity
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Extra info for Socrates and Dionysus : philosophy and art in dialogue
4) is necessary if one hopes to be saved, even if it means that one cannot also save the community and many of its members. If we are to grasp in Thucydides’ speech his appreciation of “the measure,” one that can save us even if it means foregoing some of our most cherished beliefs and attachments, then we must read Thucydides’ History dialectically. 82). To access that education, we need to remain attentive to the structure of the work, a structure that, as much as its speeches and narrative, conveys an argument about the priority of politics to human wisdom.
If we remain concerned with discovering an intelligible order to our moral and political lives, then we must be open to the possibility that the truth of about where we should look for those limits that may rightfully The Incomplete Whole 27 guide us—nature or custom—cannot be openly or explicitly revealed to men. 2). 2). We therefore need not bother engaging these accounts. Thucydides thus draws a contrast here with his approach to the poets in Book I and this contrast, combined with his Sicilian archaeology, signals that he is going to start anew.
133), Part One examines a conception of politics which understands itself to be an authoritative, self-sufficient whole, one to which all else, even religious custom, is subordinate; as such the regular movements of nature, of growth and decay, are irrelevant from the perspective of the law. 35-46), a speech which gives luminous expression to what political life can mean at its highest—the glorious path to individual human fulfillment through a deathless reputation unblemished by time and fortune.
Socrates and Dionysus : philosophy and art in dialogue by Ann Ward