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 analyzing of Nietzsche. As Jovanovski continues, Nietzsche’s written inspiration is principally 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 want for, and succeeded in constructing, 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 previous tragic mythos because the automobile towards a cultural, political, and spiritual metamorphosis of the West. in spite of the fact that, Jovanovski contends that Nietzsche doesn't recommend the sort of radical social turning as an result in itself, yet as basically 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 resources for Aesthetic transformations : taking Nietzsche at his word
And why should one not speak like children? But the awakened and knowing say: body am I entirely, and nothing else; and soul is only a word for something about the body. The body is a great reason, a plurality with one sense, a war and a peace, a herd and a shepherd. An instrument of your body is also your little reason, my brother, which you call ‘spirit’—a little instrument and toy of your great reason. qxd 5/9/07 6:53 AM Page xliii introduction: nietzsche ’ s aesthetic turn If at its release the soul is pure and carries with it no contamination of the body, because it has never willingly associated with it in life, but has shunned it and kept itself separate as its regular practice .
4) Elsewhere, Nietzsche revisits and slightly expands the range of his analysis to include the other powerful influence in his philosophical trajectory: “I interpreted Wagner’s music as an expression of a Dionysian power of the soul; I believed I heard in it the earthquake with which a primordial force of life, dammed up from time immemorial, finally vents itself, indifferent to the possibility that everything that calls itself culture today might start tottering. It is plain what I misunderstood in, equally plain what I read into, Wagner and Schopenhauer—myself ” (NCW “We Antipodes”).
It is thus hardly incidental that today “the mythless man stands eternally hungry, surrounded by all past ages, and digs and grubs for roots, even if he has to dig for them among the remotest antiquities” (ibid. 23). Even so, Nietzsche states hopefully at this juncture of his writing career, Wagner’s return to German mythology creates the most promising opportunity for Germany to reanimate her artistic spirit, an epoch-making event that could be adopted by other cultures as a schema for their own artistic regeneration.