By Thomas Jovanovski

ISBN-10: 0820420026

ISBN-13: 9780820420028

During this provocative paintings, Thomas Jovanovski offers a contrasting interpretation to the postmodernist and feminist studying of Nietzsche. As Jovanovski keeps, Nietzsche’s written inspiration is primarily a sustained pastime 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 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and aesthetic path grounded in cause, technological know-how, and optimism, so does Nietzsche regard the rebirth of an outdated tragic mythos because the motor vehicle towards a cultural, political, and non secular metamorphosis of the West. even though, Jovanovski contends that Nietzsche doesn't suggest this sort of radical social turning as an result in itself, yet as merely the main consequential prerequisite to figuring out 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)

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Escape from the bad smell! Escape from the idolatry of the superfluous! . Only where the state ends, there begins the human being who is not superfluous: there begins the song of necessity, the unique and inimitable tune. Where the state ends—look there, my brothers! Do you not see it, the rainbow and the bridges of the overman? (TSZ I 11) Fourth Antinomy Thesis The meaning and aim of existence can be properly understood only if they are explained in teleological terms, that is, only if we think of the soul as eventually coming to rest in an otherworldly realm.

Crane Brinton, for one, confidently points out that “Nietzsche’s book took a spectacular farewell to philology and scholarship. It was no careful account of Greek tragedy, but a brief, lively, and literary defense of an old thesis in philosophy, an old folk-belief among German intellectuals” (1941 39). J. Hollingdale and Walter Kaufmann. Since I have devoted an entire chapter on Kaufmann’s position, let us here turn our attention to Hollingdale who holds that The Birth of Tragedy “begins as a study of Greek culture and ends as a polemic for Wagnerian opera.

How could a culture’s Socratic, or untragic, inclination be responsible for that culture’s demise? And why is Nietzsche so convinced that “only a horizon defined by myths completes and unifies a whole cultural movement” (ibid. 23)? The following answer complements my idea of the character and influence of aesthetic Socratism: Prior to the surprisingly quick and wide adoption of Socrates’ teachings, people’s views of right and wrong, Nietzsche tells us, were guided by tradition-honored, virtually instinctive values.

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Aesthetic Transformations: Taking Nietzsche at His Word (American University Studies) by Thomas Jovanovski

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