Nietzsche: The Birth of Tragedy

This essay sets out reflections on happiness that, it is argued, can be drawn from the 2013 film Blue Jasmine. In doing so, it seeks to demonstrate a certain epistemic potential of sound film, specifically, in the present case, a philosophical and psychological potential. It is argued that this kind of potential resides in a filmmaker’s ability to realistically represent aspects of the world that can otherwise rarely, if ever, be experienced so reflectively.

The tragic philosophy of Nietzsche was conceived in his first book: that famous essay The Birth of Tragedy from the Spirit of Music [Die Geburt der Tragödie aus dem Geiste der Musik] published in 1872. In this paper we will approach the intimate relation between greek Art and greek Religions from a philosophical aesthetical point of view, reflecting how the tragic reconciliation of the dionysiac phenomenon would have promoted, according to Nietzsche, a time of great artistic sensibility and relative balance (...) of the political life for the greeks, by creating a permanent tension between the impulse of individuation and the impulse of denial of individuation. (shrink)

Se analizan los textos de Rafael Gutiérrez-Girardot sobre F. Nietzsche en torno a la tragedia y el pesimismo. Esta aproximación se elabora a partir de tres temas: estilo, nihilismo y estética. Se argumenta que la interpretación de Gutiérrez-Girardot sobre Nietzsche impide que este sea visto solo como un crítico literario. Asimismo, este trabajo brinda el tono a la escritura de Rafael Gutiérrez Girardot y, de este modo, configura su estilo personal.

RESUMEN Se analizan los textos de Rafael Gutiérrez-Girardot sobre F. Nietzsche en torno a la tragedia y el pesimismo. Esta aproximación se elabora a partir de tres temas: estilo, nihilismo y estética. Se argumenta que la interpretación de Gutiérrez-Girardot sobre Nietzsche impide que este sea visto solo como un crítico literario. Asimismo, este trabajo brinda el tono a la escritura de Rafael Gutiérrez Girardot y, de este modo, configura su estilo personal. ABSTRACT The article analyzes Rafael Gutiérrez-Girardot's texts on F. (...) Nietzsche's reflections regarding tragedy and pessimism, on the basis of three topics: style, nihilism, and aesthetics. It argues that Gutiérrez-Girardot's interpretation of Nietzsche proves that the former is not merely a literary critic, and that those texts shape the tone and personal style of Gutiérrez Girardot's writing. (shrink)

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 (...) with popular scholarly view, I show that Human, All Too Human does not represent a complete break with his earlier writings, but rather a shift in emphasis. I argue that the overall project connecting Nietzsche's early thought to Human, All Too Human is, first, the attempt to come to terms with the upheavals introduced into the cultural terrain by the Socratic turn, and second, to affirm a higher culture. (shrink)

“How does music stand to image and concept?” (KSA 1, 104) This query in the aesthetics of media is central to Nietzsche’s Birth of Tragedy and related early texts; it shapes both their form and content. Nietzsche searches for a mode of non-conceptual philosophizing; he wishes to organize thought as a sequence of suggestive images – thoughts, that is, about that very relationship. Nietzsche’s success or failure in that endeavour becomes clearer against the foil of the 1795 controversy between Friedrich (...) Schiller and Johann Gottlieb Fichte. These disputants rigidly opposed concept and image; they identified a potential for mediation, at best, in the aftermath. Yet Nietzsche realizes that concepts are images whose character as such fell into oblivion. He undermines the established opposition, too, by introducing sound as a third medium. In spite of these insights, both Schiller and Fichte get clearer about possible coalescences of media than Nietzsche who, at the end of The Birth of Tragedy, forces their harmony by opting for Wagner’s ‘total work of art’. (shrink)

Deleuze does not mention Schopenhauer very frequently. Certainly Schopenhauer does not appear to be in the counter-canon of life-affirming philosophers that Deleuze so values – indeed, far from it. Nor does he appear to be even a favoured ‘enemy’ as he describes Kant, or as he sometimes appears to view Hegel. Nevertheless, I think Schopenhauer’s break from Kant is crucial for understanding not only Deleuze’s account of Nietzsche, but also for a proper grasp of the core Deleuzian distinction between the (...) actual and the virtual, at least in its guise as the distinction between desiring-production and social production in Anti-Oedipus. (shrink)

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. (...) “While dreaming is the game man plays with reality as an individual, the visual artist plays a game with dreaming.” This is the Dionysian vision of the world. (shrink)

An irony, however, is that although Nietzsche had read extensively important philosophers of his time, and in fact, had been known for his ad hominem criticisms on his predecessors, there is an astonishing silence on Marx in the Nietzsche literature, as if Marx is unheard-of in Nietzsche’s time despite the very close world they lived in as though neighbors, and also despite the growing influence of socialism in Nietzsche’s time. Nietzsche openly utters his strong disgust to the German National Socialist (...) Party which was later commonly referred as the Nazis. In this connection, he never mentioned the name of Marx as though it did not exist in his vocabulary. Although at first glance, they appear similar in the sense that both of them revolted against morality and religion, and made a distinction of society into opposing classes. But, in truth, they are worlds apart. They lived on two opposite worlds. Nietzsche is from the start an antipode of Marx. Aside from presenting a clear contrast of these two thinkers, here I also come up with a Nietzschean critique on the Marxian thought. (shrink)

This is the first comprehensive study of Nietzsche's earliest (and extraordinary) book, The Birth of Tragedy (1872). When he wrote it, Nietzsche was a Greek scholar, a friend and champion of Wagner, and a philosopher in the making. His book has been very influential and widely read, but has always posed great difficulties for readers because of the particular way Nietzsche brings his ancient and modern interests together. The proper appreciation of such a work requires access to ideas that cross (...) the boundaries of conventional specialisms. This is now provided by M. S. Silk and J. P. Stern in their joint study of Nietzsche's book. They examine in detail its content, style and form; its strange genesis and hybrid status; its biographical background and the controversy engendered by its publication; its value as an account of ancient Greek culture and as a theory of tragedy and music; its relation to other theories of tragedy; and its place in the history of German ideas and in Nietzsche's own philosophical career. (shrink)