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 studying of Nietzsche. As Jovanovski continues, Nietzsche’s written idea is specially a sustained exercise aimed 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 desire 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 previous tragic mythos because the motor vehicle towards a cultural, political, and spiritual metamorphosis of the West. even if, Jovanovski contends that Nietzsche doesn't suggest 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 exceptional visual appeal of the Übermensch
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Extra resources for Aesthetic transformations : taking Nietzsche at his word
His attempt to persuade us to “regard art and the beautiful” “from the point of view of the artist (the creator),” not from “that of the ‘spectator,’ ” pits Nietzsche against the universal and impersonal character of Kant’s “aesthetic problem” (GM III 6) and against the “woman’s aesthetics” of “the receivers of art [who] have formulated their experience of ‘what is beautiful’ ” (WP 811). He encapsulates the nature of his “active” aesthetics with the following staccato description of why artists produce beauty: ‘Beauty’ is for the artist something outside all orders of rank, because in beauty opposites are tamed; the highest sign of power, namely power over opposites; moreover, without tension:—that violence is no longer needed; that everything follows, obeys, so easily and so pleasantly—that is what delights the artist’s will to power.
By similarly postulating a realm of bliss and by insisting that our entry therein hinges on our adherence to a whole table of moral standards, Socrates introduces us to a “cheerfulness” that demands a self-negating lifestyle. This is the Socratic legacy Nietzsche condemns for the ignoble state in which the world finds itself today: “Our institutions are no good any more: on that there is universal agreement. However, it is not their fault but ours. Once we have lost all the instincts out of which institutions grow, we lose institutions altogether because we are no longer good for them” (TI “Skirmishes of an Untimely Man” 39).
Of course, Nietzsche had no illusions that Wagner would revivify the Dionysian mythos itself—the same mythos that could overcome any society steeped in concept and number, and before which “the gulfs between man and man give way to an overwhelming feeling of unity leading back to the very heart of nature” (ibid. 7). Nevertheless, sure that Wagner might be cogently put forth as a counterforce against David Strauss, Hegel, and all the other modern apostles of the Socratic optimism which believes that there exists no realm whereto reason cannot penetrate, Nietzsche was hopeful that Wagner might be equally effectively turned into a machine de guerre against Christianity’s otherworldly hankering.