Routledge Philosophy Guidebook to Nietzshe on Art and Literature (Routledge Philosophy Guidebooks)

Routledge Philosophy Guidebook to Nietzshe on Art and Literature (Routledge Philosophy Guidebooks)

Aaron Ridley

Language: English

Pages: 218

ISBN: 2:00321773

Format: PDF / Kindle (mobi) / ePub


Nietzsche is one of the most important modern philosophers and his writings on the nature of art are amongst the most influential of the nineteenth and twentieth centuries.

This GuideBook introduces and assesses:
• Nietzsche's life and the background to his writings on art the ideas and texts of his works which contribute to art, including
• The Birth of Tragedy, Human, All Too Human and Thus Spoke Zarathustra
• Nietzsche's continuing importance to philosophy and contemporary thought.

This GuideBook will be essential reading for all students coming to Nietzsche for the first time.

Essential Works of Foucault, 1954-1984, Volume 2: Aesthetics, Method, and Epistemology

Breve historia y antología de la estética

 

 

 

 

 

 

 

 

 

 

 

 

 

to see as beautiful, that is, not only ‘what is necessary in things’, but also those self-imposed necessities that constitute his ‘style’ – an undertaking which, because those necessities are imposed out of a good intellectual conscience, requires a kind of honesty of which the ‘weak’ are incapable. (A final thing to note: here, in Nietzsche’s insistence on the self-stylist’s need for ‘long practice and daily work’ at his task, is the re-emergence of another theme from Human, All Too Human,

‘ultimate confirmation and seal’ (something that Nietzsche has no business to be offering23) – that the death of God has taken away; and which will, as a result, make the burden of having to love fate a little more tolerable. But the real test, it seems to me, if one takes seriously what is best and deepest in Nietzsche’s thinking, is to try to love fate without having to invent things like the thought of eternal recurrence (or indeed any further test at all). What are the consequences of the

notably modest one): and it is in this, if what I argued in section 3 is correct, that his claim to be considered an exemplar principally consists. The second thing to say is that, to the extent that this is what Nietzsche intended – and he surely did intend it – he shouldn’t have done. Zarathustra exemplifies a style of character who, in his refusal to acknowledge some very fundamental features of the ‘course of nature’ and ‘its conditions’ (GS 1), Nietzsche should not consider exemplary – and,

interpretations and directions, although ‘adaptation’ follows only after this. (Nietzsche, GM II.12) And increasingly, Nietzsche speaks of the ‘instinct for freedom’ (GM II.17), of the ‘instinct’ for ‘self-affirmation’ (GM I.13), of the ‘instinct’ for ‘life’ (TI IX.24) – and assigns to these a kind of explanatory primacy that he had not done previously (or certainly had not done as consistently). So again, there is a shift from a passive voice to an active voice, from a quasi-spectatorial

128–34, 140, 147, 154, 169 Beethoven, L.v. 45, 50, 144 being, art of 123–25 beliefs 44, 70–72, 74–76, 163, 164 Beyond Good and Evil (BGE) 5, 6, 38, 66, 68, 87, 112, 113, 114, 116, 117, 119, 121, 131, 132–33, 142, 143, 155, 158, 159, 161, 162, 165, 169 Birth of Tragedy, The (BT) 1, 3, 4, 6, 7, 8, 9–33, 34, 35, 37–39, 40, 41, 42, 43, 44, 62, 65, 80, 92, 97, 116, 126, 144, 145, 157, 158, 159, 161, 167, 168 Bittner, R. 157 Bizet, G. 142 blood 99–100 Boscovich, R. 38, 65–66, 70, 160 Brahms,

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