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 analyzing of Nietzsche. As Jovanovski continues, Nietzsche’s written notion is exceptionally a sustained activity 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 desire for, and succeeded in developing, 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. although, Jovanovski contends that Nietzsche doesn't recommend this type of radical social turning as an result in itself, yet as in basic terms the main consequential prerequisite to understanding 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
To set apart, then, Nietzsche’s model from all the other views which assign primacy to matter, including that of Marx, commentators would do well to henceforth refer to it as aesthetic materialism. 2. Nietzsche’s Subversion of Aesthetic Socratism’s Scientific Optimism Many of those inclined to recognize little practical utility beyond the diversionary value of commercially created appearances might find it perplexing that Nietzsche would attach such great weight to art. Anyone so bewildered should bear in mind that aesthetics—or the particular taste for and approach to art—represents for Nietzsche, as it does for Socrates, an historical stimulus of superlative possibilities.
In the light of these particulars, we might next (i) fully distinguish between the Socratic and the Apollinian drives, and (ii) show why Socratic scientific optimism, not Apollinian surface structure, simultaneously represents the primary cause and most striking symptom of “every” declining culture. (i) Nietzsche’s position in The Birth of Tragedy permits a dual distinction between the Apollinian and the Socratic standards of creativity. (a) While practically everything that is an Apollinian manifestation “looks simple, transparent, and beautiful,” virtually everything that is a product of Socratic rationalism is an analytical construct; while, put differently, the Apollinian artist is busy creating an “illusion,” the Socratic intellectual is preoccupied with presenting a detailed account of the subject under consideration.
What I am suggesting by my first point is that the experience of being crudely initiated into the highly competitive and exacting world of scholarly research must have made Nietzsche see himself as “officially” reproved by those most qualified to arbitrate on the matter. Not only did his hope for what he once dared believe would be widely and positively appraised as his defining philosophical document deflate, but he also began to look upon The Birth of Tragedy as the main cause of the scornful heedlessness shown all his subsequent texts by the German intellectual community—or as he autobiographically claims in Zarathustra, for being “heard least well by the most scholarly” (II 16).