By Thomas Jovanovski
During this provocative paintings, Thomas Jovanovski provides a contrasting interpretation to the postmodernist and feminist analyzing of Nietzsche. As Jovanovski continues, Nietzsche’s written concept is chiefly 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 want for, and succeeded in constructing, a brand new world-historical ethic and aesthetic path 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 spiritual metamorphosis of the West. in spite of the fact that, Jovanovski contends that Nietzsche doesn't suggest one of these radical social turning as an lead to itself, yet as purely the main consequential prerequisite to understanding 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 (American University Studies)
Qxd 5/9/07 xxx 6:53 AM Page xxx aesthetic transformations Hollingdale is resurrecting what was once a likely widely held misconception when he says that the last ten Sections of The Birth of Tragedy create a contextual fork vis-à-vis the first fifteen. Even if right, his claim would still border on the trivial were one to offer it as evidence that these Sections contain little of consequence either to the book’s main premise or to Nietzsche’s philosophy as a whole. For when we think that Nietzsche is a revolutionist in the comprehensive sense of that term, and as such (rightly) unconcerned with the precision of formalist composition, we should be no more surprised that Wagner begins to play a central role after Section 15 than that Socrates, without whom neither the book’s disposition nor its letter could be fully grasped, goes unmentioned until Section 12.
My foregoing observations notwithstanding, Hollingdale’s description of The Birth of Tragedy as, basically, a synthesis of two identifiable essays does rest on some factual evidence. It is true that Nietzsche completed his first major text by the beginning of 1871 and titled it Greek Cheerfulness. ” The latter’s focus and objective were thus notably expanded, and its “weight . . [was] now thrown on the argument that Wagnerian music-drama is a rebirth of antique tragedy, and if we had no other evidence this alone would suffice to show how far Nietzsche had succumbed to Wagner’s influence” (1965 97–8).
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. Antithesis Humankind is nothing if not a material being, a body, which means that any and all supra-natural characteristics ascribed to it are merely (culturally) perverted attributes of the body. Proof When soul and body are both in the same place, nature teaches the one to serve and be subject, the other to rule and govern.
Aesthetic Transformations: Taking Nietzsche at His Word (American University Studies) by Thomas Jovanovski