By Thomas Jovanovski
During this provocative paintings, Thomas Jovanovski offers a contrasting interpretation to the postmodernist and feminist analyzing of Nietzsche. As Jovanovski continues, Nietzsche’s written proposal is primarily 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 desire for, and succeeded in constructing, 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 automobile towards a cultural, political, and non secular metamorphosis of the West. in spite of the fact that, Jovanovski contends that Nietzsche doesn't recommend this kind of radical social turning as an lead to itself, yet as in basic 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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Extra info for Aesthetic Transformations: Taking Nietzsche at His Word (American University Studies)
Qxd 5/9/07 6:53 AM Page xli introduction: nietzsche ’ s aesthetic turn xli 3. Nietzsche’s Opposition to Socratism at a Glance When I refer to The Birth of Tragedy as Nietzsche’s philosophical blueprint, I do not mean that he developed his trademark ideas on the basis of his analysis of Socrates or of the Dionysian-Apollinian interplay, but that the book comprises practically all of these ideas in their embryonic form. Actually, Nietzsche’s sudden and caustic reaction against what appears to him as a twofold, if not necessarily a concerted, attempt by Socrates and Christianity to point Europe in a direction of moral and physiological decline, shows that his reaction is energized by a predetermined, an already thought-out conception of human existence.
Be that is it may, our main conclusion must be that the traditional claim about the last (‘Wagnerian’) part is unsubstantiated. . 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.
Whether European or otherwise, Nietzsche is hopeful that we might compensate for these shortcomings by establishing order amongst our disparate dispositions: “To ‘give style’ to one’s character—a great and rare art! It is practiced by those who survey all the strengths and weaknesses of their nature and then fit them into an artistic plan until every one of them appears as art and reason and even weaknesses delight the eye” (ibid. 290). Such a formulation of character is in keeping with Nietzsche’s notion that “the beautiful stands within the general category of the biological values of what is useful, beneficent, lifeenhancing” (WP 804).