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 idea is certainly a sustained recreation 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 desire for, and succeeded in setting up, a brand new world-historical ethic and aesthetic path grounded in cause, technological know-how, and optimism, so does Nietzsche regard the rebirth of an outdated tragic mythos because the car towards a cultural, political, and spiritual metamorphosis of the West. even though, Jovanovski contends that Nietzsche doesn't recommend any such radical social turning as an lead to itself, yet as merely the main consequential prerequisite to understanding the culminating item of his «historical philosophizing» - the exceptional visual appeal of the Übermensch
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Additional resources for Aesthetic transformations : taking Nietzsche at his word
The most consequential points or passages in BT are prefigured, sometimes loosely, sometimes almost verbatim, in one or other of the preliminary versions of 1870 and the extended fragments of 1870–1. This means that most of BT is a rewriting and as such embodies considered judgments, not ‘hasty afterthoughts’ . . The chief exceptions seem to be the final two sections (§§ 24–5), which in large part reformulate points already made, and a page-long discussion (§ 21) of the relation between the drama and the music in Tristan, which, apart from passing references, is actually the only discussion of any Wagnerian work in BT.
This means that most of BT is a rewriting and as such embodies considered judgments, not ‘hasty afterthoughts’ . . The chief exceptions seem to be the final two sections (§§ 24–5), which in large part reformulate points already made, and a page-long discussion (§ 21) of the relation between the drama and the music in Tristan, which, apart from passing references, is actually the only discussion of any Wagnerian work in BT. It is not hard to imagine Nietzsche adding passages of this modest length in the final weeks, especially if he had continued to work on the ‘whole last part’ of the book during the summer.
Would lie upon your actions as the greatest weight. Or how well disposed would you have to become to yourself and to life to crave nothing more fervently than this ultimate eternal confirmation and seal? (GS 341) Let us keep in mind the palpable difference between Socrates’ nonnaturalistic and Nietzsche’s naturalistic models as a backdrop which continuously informs our exposition in the succeeding chapters. qxd 5/9/07 xlvi 6:53 AM Page xlvi aesthetic transformations having encountered any of Plato’s dialogues.
Aesthetic transformations : taking Nietzsche at his word by Nietzsche, Friedrich Wilhelm; Socrates.; Jovanovski, Thomas; Socrates., Socrates; Nietzsche, Friedrich Wilhelm