By Thomas Jovanovski

ISBN-10: 0820420026

ISBN-13: 9780820420028

During this provocative paintings, Thomas Jovanovski provides a contrasting interpretation to the postmodernist and feminist interpreting of Nietzsche. As Jovanovski continues, Nietzsche’s written suggestion is peculiarly a sustained activity 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ethic and aesthetic course grounded in cause, technology, and optimism, so does Nietzsche regard the rebirth of an outdated tragic mythos because the automobile towards a cultural, political, and non secular metamorphosis of the West. notwithstanding, Jovanovski contends that Nietzsche doesn't suggest one of these radical social turning as an lead to itself, yet as in basic terms the main consequential prerequisite to figuring out the culminating item of his «historical philosophizing» - the exceptional visual appeal of the Übermensch.

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WP 55) What, if some day or night a demon were to steal after you into your loneliest loneliness and say to you: ‘This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence. . ’ Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus?

Indeed, Nietzsche’s repudiation of Wagner shortly after the staging of Parsifal tells us that he saw Wagner as a promising cultural catalyst only so long as Wagner conformed to Nietzsche’s notion of how any new Aeschylus ought to behave. Instead of regarding the younger Nietzsche as, in a sense, Wagner’s “ego booster” or “advertising agent,” therefore, we would be more accurate to consider him a thinker who was committed to his vision, and thus saw fit to include Wagner as only an ancillary constituent thereof.

Whereas, he says, on the one hand it is “the strong and domineering natures that enjoy their finest gaiety in such constraint and perfection under a law of their own,” it is, on the other, “the weak characters without power over themselves that hate the constraint of style. They feel that if this bitter and evil constraint were imposed upon them they would be demeaned” (GS 290). ” In “every case” of the beautiful and the ugly, Nietzsche concludes, “it is a question of the conditions of preservation of a certain type of man: thus the herd man will experience the value feeling of the beautiful in the presence of different things than will the exceptional or overman” (WP 804).

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

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