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  1. David B. Allison (1990). A DIET OF WORMS. Aposiopetic Rhetoric in Beyond Good and Evil. Nietzsche-Studien 19 (1).
  2. Antony Aumann (2014). Emotion, Cognition, and the Value of Literature: The Case of Nietzsche's Genealogy. Journal of Nietzsche Studies 45 (2):182-195.
    Near the end of the Republic, Plato challenges defenders of poetry to explain how it “not only gives pleasure but is beneficial . . . to human life.”1 We sometimes hear a heightened version of this demand. Partisans not just of poetry but also of literature in general are asked to establish that the arts they celebrate possess a distinctive or unique value. In other words, they must show that poetry and literature are irreplaceable and that we would lose some (...)
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  3. Johannes Balthasar (1990). Metaphysics, Art and Language in Early Works of Nietzsche. Philosophy and History 23 (2):116-116.
  4. Georges Bataille (1992). On Nietzsche. Paragon House.
    I live — if I choose to see things this way- — among a curious race that sees earth, its chance events and the vast interconnectedness of animals, mammals, ...
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  5. Georges Bataille & tr Boone, Bruce (1995). Book Review: On Nietzsche. [REVIEW] Philosophy and Literature 19 (1).
  6. Ernst Behler (1995). Nietzsche's Study of Greek Rhetoric. Research in Phenomenology 25 (1):3-26.
  7. Gottfried Benn (2000). Nietzsche After 50 Years (1950). New Nietzsche Studies 4 (3-4):127-137.
  8. A. E. Denham (2013). Attuned, Transcendent & Transfigured: Nietzsche's Aesthetic Psychology. In Daniel Came (ed.), Nietzsche on Art & Life. Oxford.
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  9. Andreas Dorschel (1992). Das Programm ästhetischer Erziehung bei Schiller und beim frühen Nietzsche. Vierteljahrsschrift Für Wissenschaftliche Pädagogik 68 (3):260-284.
    Friedrich Nietzsche, in his early work, both appropriated and transformed Friedrich Schiller’s idea of aesthetic education. Art must cease to be a mere object of private pleasure and turn into a medium of public communication – this is the vision both philosophers share. As Nietzsche assigns the rôle held by language in Schiller to music, he shifts the project’s meaning. Yet both authors have to address the paradox that art, cut off from political and economic structures they disapprove of, is (...)
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  10. Russell Ford (2007). Tragedy, Comedy, Parody: From Hegel to Klossowski. Diacritics 35 (1):22-46.