By Nietzsche, Friedrich Wilhelm; Socrates.; Jovanovski, Thomas; Socrates., Socrates; Nietzsche, Friedrich Wilhelm
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 principally a sustained undertaking aimed 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ethic and aesthetic path grounded in cause, technology, and optimism, so does Nietzsche regard the rebirth of an outdated tragic mythos because the automobile towards a cultural, political, and non secular metamorphosis of the West. despite the fact that, Jovanovski contends that Nietzsche doesn't suggest this type of radical social turning as an result in itself, yet as in basic terms 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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Additional resources for Aesthetic transformations : taking Nietzsche at his word
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.
It is] in order that [a base man] may have a like government with the best man that we say he ought to be the slave of that best man who has within himself the divine governing principle, not because we suppose . . that the slave should be governed for his own harm, but on the ground that it is better for everyone to be governed by the divine and the intelligent . . And it is plain . . that this is the purpose of the law, which is the ally of all classes in the state, and this is the aim of our control of children, our not leaving them free before we have established, so to speak, a constitutional government within them and, by fostering the best element in them with the aid of the like in ourselves, have set up in its place a similar guardian and ruler in the child, and then, and then only, we leave it free.
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. However, with the acceptance of Socrates’ notion that perhaps most of the hardships and limitations of human existence could be relieved or even solved by the application of sheer reason, just about everything—including art, education, social laws, religion, and morality—was transformed into a theme for literally endless philosophical interpretations in which anyone might participate.
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