Aesthetic Transformations: Taking Nietzsche at His Word by Thomas Jovanovski

By Thomas Jovanovski

During this provocative paintings, Thomas Jovanovski provides a contrasting interpretation to the postmodernist and feminist analyzing of Nietzsche. As Jovanovski continues, Nietzsche’s written inspiration is in particular a sustained recreation 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 constructing, a brand new world-historical ethic and aesthetic course grounded in cause, technological know-how, and optimism, so does Nietzsche regard the rebirth of an previous tragic mythos because the automobile towards a cultural, political, and spiritual metamorphosis of the West. in spite of the fact that, Jovanovski contends that Nietzsche doesn't recommend this type of radical social turning as an result in itself, yet as simply 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 (American University Studies)

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The soul is most like that which is divine, immortal, intelligible, uniform, indissoluble, and ever self-consistent and invariable, whereas body is most like that which is human, mortal, multiform, unintelligible, dissoluble, and never self-consistent . . Proof ‘Body am I, and soul’—thus speaks the child. And why should one not speak like children? But the awakened and knowing say: body am I entirely, and nothing else; and soul is only a word for something about the body. The body is a great reason, a plurality with one sense, a war and a peace, a herd and a shepherd.

Qxd 5/9/07 6:53 AM Page 1 ·1· THE CHIAROSCURO OF NIETZSCHE ’ S AESTHETICS An anti-metaphysical view of the world—yes, but an artistic one. The Will to Power 1048 With his virtual refrain “God is dead,” Nietzsche at once liberates our imagination and manufacturing tendency from the most influential albeit selfimposed deterministic sway, and invites us to commence and commit ourselves to a continuing process toward collective self-configuration in all its manifestations. This conceptive freedom would have remained a human attribute, and conforming one’s lifestyle in accordance with the belief in an active God would have persisted as a kind of self-affirmation, even without the madman’s declaration of an otherworldly emptiness (GS 125).

Having conceded as much, there can be no question that the Apollinian reason and balance are of a different character and function in relation to the Socratic theoretical probing, whose object is not only to illumine the road to the noumenal realm, but also to expose the latter’s mysteries. 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.

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