By Thomas Jovanovski

During this provocative paintings, Thomas Jovanovski provides a contrasting interpretation to the postmodernist and feminist interpreting of Nietzsche. As Jovanovski continues, Nietzsche’s written idea is chiefly 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 setting up, a brand new world-historical ethic and aesthetic path grounded in cause, technological know-how, and optimism, so does Nietzsche regard the rebirth of an previous tragic mythos because the car towards a cultural, political, and spiritual metamorphosis of the West. although, Jovanovski contends that Nietzsche doesn't recommend the sort of radical social turning as an result in itself, yet as simply the main consequential prerequisite to knowing the culminating item of his «historical philosophizing» - the outstanding visual appeal of the Übermensch.

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19–20). ) My foregoing observations notwithstanding, Hollingdale’s description of The Birth of Tragedy as, basically, a synthesis of two identifiable essays does rest on some factual evidence. It is true that Nietzsche completed his first major text by the beginning of 1871 and titled it Greek Cheerfulness. ” The latter’s focus and objective were thus notably expanded, and its “weight . . [was] now thrown on the argument that Wagnerian music-drama is a rebirth of antique tragedy, and if we had no other evidence this alone would suffice to show how far Nietzsche had succumbed to Wagner’s influence” (1965 97–8).

Those Greeks were superficial—out of profundity” (Second Preface). Whether through mythology or through the Homeric epic, art, Nietzsche believes, is “one of those illusions which nature so frequently employs to achieve her own ends. The true goal is veiled by a phantasm: and while we stretch out our hands for the latter, nature attains the former by means of our illusion” (BT 3). ) We might thus imagine nature, or the Primordial One, as an anthropomorphic agent that must constantly resort to various tactics whereby it not only ensures the continuous redemption of its “images and artistic projections” from certain peril, but also saves itself.

For regardless of the fact that it often confines itself to religious or to social presence, regardless, in other words, of the fact that it is often preoccupied with the production of icons or the spreading of political propaganda, art remains a life-affirming vehicle. Some might wonder whether Nietzsche would have characterized as art any of our current objectless visual genres as, for example, abstract expressionism and minimalism. ” At the same time, one could not very well deny these compositions the status of art when they tend to reflect the idea that the world is forever changing, that everything is a matter of attaching labels, and that the currently accepted gauge of what might pass for art urges that we consider every intended aesthetic appearance with a hyperdemocratic eye.

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