By Thomas Jovanovski
During this provocative paintings, Thomas Jovanovski offers a contrasting interpretation to the postmodernist and feminist interpreting of Nietzsche. As Jovanovski continues, Nietzsche’s written proposal is specifically a sustained pastime 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, technology, and optimism, so does Nietzsche regard the rebirth of an previous tragic mythos because the motor vehicle towards a cultural, political, and non secular metamorphosis of the West. although, Jovanovski contends that Nietzsche doesn't suggest this kind of radical social turning as an result in itself, yet as merely the main consequential prerequisite to understanding the culminating item of his «historical philosophizing» - the outstanding visual appeal of the Übermensch.
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Additional info for Aesthetic Transformations: Taking Nietzsche at His Word (American University Studies)
It is plain what I misunderstood in, equally plain what I read into, Wagner and Schopenhauer—myself ” (NCW “We Antipodes”). On the basis of these and similarly revealing passages, one might infer that I have exaggerated Wagner’s relevance to The Birth of Tragedy. Such an inference, however, would be wrong; for the correct evaluation of Wagner’s relevance here depends on making a distinction in Nietzsche’s apprehension of Wagner’s creative development: Insofar as Nietzsche never dispenses with tragic art as the vehicle that can deliver us from the Socratic lifestyle of reason, the regret he expresses in these citations lies not with the role he thought Wagner could ably play, but with what he saw as Wagner’s eventual betrayal of that role.
Benedetto Croce, for one, formulates this objection thus: In none of [Nietzsche’s] books, not even in his first, The Birth of Tragedy, in spite of the title, does he offer us a real theory of art; what appears to be theory is the mere expression of the author’s feelings and tendencies. He shows a kind of anxiety concerning the value and aim of art and the problem of its inferiority or superiority to science and philosophy. . The thought is vague and does not bear criticism. (1958 411–412) Croce’s dismissive tone is unwarranted.
By Chance’—that is the most ancient nobility of the world, and this I restored to all things: I delivered them from their bondage under Purpose. This freedom and heavenly cheer I have placed over all things like an azure bell when I taught that over them and through them no ‘eternal will’ wills. (TSZ III 4) The apparent world and the world invented by a lie—this is the antithesis. ’ This is what we have to abolish. (WP 461) Second Antinomy Thesis Each human being is a union of body and soul; that is, a union in which the soul (with varying degrees of success) tends to rule over the body, much as does a master over his servant.
Aesthetic Transformations: Taking Nietzsche at His Word (American University Studies) by Thomas Jovanovski