By Thomas Jovanovski
During this provocative paintings, Thomas Jovanovski provides a contrasting interpretation to the postmodernist and feminist studying of Nietzsche. As Jovanovski continues, Nietzsche’s written notion is primarily a sustained activity aimed toward negating and superseding the (primarily) Socratic ideas 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 path grounded in cause, technology, and optimism, so does Nietzsche regard the rebirth of an previous tragic mythos because the automobile towards a cultural, political, and non secular metamorphosis of the West. in spite of the fact that, Jovanovski contends that Nietzsche doesn't suggest this kind of radical social turning as an result in itself, yet as purely the main consequential prerequisite to figuring out the culminating item of his «historical philosophizing» - the outstanding visual appeal of the Übermensch.
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Additional info for Aesthetic Transformations: Taking Nietzsche at His Word (American University Studies)
Not really; in fact, art qua inventive infinity unavoidably permits itself to be—and one would find it impossible to identify a single historical period in which it has not been in some manner— channeled, controlled, drafted in the service of creating socially serviceable representations and metaphors. To put it in practical terms, once we have with art’s help superseded the old or negative order, we might readily metamorphose art’s rank from a dragon slayer to that of a validating agent of the newly established consciousness.
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).
After all, the book’s first Foreword, which was “addressed to Wagner but later rejected in favour of the much shorter one which stands at the head of the publication of 1872, makes it clear that the book was intended to be not about Wagner but about Greek culture and its meaning for the Germany of the 1870’s” (ibid. 97). qxd 5/9/07 xxx 6:53 AM Page xxx aesthetic transformations Hollingdale is resurrecting what was once a likely widely held misconception when he says that the last ten Sections of The Birth of Tragedy create a contextual fork vis-à-vis the first fifteen.
Aesthetic Transformations: Taking Nietzsche at His Word (American University Studies) by Thomas Jovanovski