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  1. Vinod Acharya (2015). Science, Culture and Philosophy: The Relation Between Human, All Too Human and Nietzsche's Early Thought. Comparative and Continental Philosophy 7 (1):18-28.
    The goal of this article is to trace the transformations in Nietzsche’s early thinking that led to the ideas published in Human, All Too Human, the first book of his mature philosophy. In contrast to his early works, in which he sides with art and philosophy in criticizing the scientific culture of his time, Nietzsche, in Human, All Too Human, hails the methodology of science as a way to overcome the metaphysical delusions of philosophy, art, and religion. However, in disagreement (...)
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  2. Ira J. Allen (ed.) (2013). The Dionysian Vision of the World. Univocal Publishing.
    Before the world knew of the thinker who “philosophizes with a hammer,” there was a young, passionate thinker who was captivated by the two forces found within Greek art: Dionysus and Apollo. In this essay, which was the forerunner to his groundbreaking book _The Birth of Tragedy, The Dionysian Vision of the World_ provides an unparalleled look into the philosophical mind of one of Europe’s greatest and provocative intellects at the beginning of his philosophical interrogation on the subject of art. (...)
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  3. David B. Allison (1990). A DIET OF WORMS. Aposiopetic Rhetoric in Beyond Good and Evil. Nietzsche-Studien 19 (1):43.
  4. 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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  5. Johannes Balthasar (1990). Metaphysics, Art and Language in Early Works of Nietzsche. Philosophy and History 23 (2):116-116.
  6. 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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  7. Georges Bataille & tr Boone, Bruce (1995). Book Review: On Nietzsche. [REVIEW] Philosophy and Literature 19 (1).
  8. Ernst Behler (1995). Nietzsche's Study of Greek Rhetoric. Research in Phenomenology 25 (1):3-26.
  9. Gottfried Benn (2000). Nietzsche After 50 Years (1950). New Nietzsche Studies 4 (3-4):127-137.
  10. A. E. Denham (2013). Attuned, Transcendent & Transfigured: Nietzsche's Aesthetic Psychology. In Daniel Came (ed.), Nietzsche on Art & Life. Oxford
  11. 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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  12. Russell Ford (2007). Tragedy, Comedy, Parody: From Hegel to Klossowski. Diacritics 35 (1):22-46.
  13. Erman Kaplama (2016). Kantian and Nietzschean Aesthetics of Human Nature: A Comparison Between the Beautiful/Sublime and Apollonian/Dionysian Dualities. Cosmos and History: The Journal of Natural and Social Philosophy 12 (1):166-217.
    Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...)
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  14. Erman Kaplama (2016). The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings. Cosmos and History: The Journal of Natural and Social Philosophy 12 (1):218-237.
    Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis (...)
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  15. Leon Niemoczynski & Kevin Sodergren (2006). Freedom Ablaze: Ernst Jünger's and Michel Foucault’s Concept of Force. Pli 17:84-97.
  16. Christopher C. Raymond (2014). Nietzsche on Tragedy and Morality. In Daniel Came (ed.), Nietzsche on Art and Life. Oxford University Press 57–79.
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  17. Gabriel Zamosc (2014). Review of Christa Davis Acampora's "Contesting Nietzsche". [REVIEW] Revista de Filosofía de la Universidad de Costa Rica 53 (135):129-135.