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By Nietzsche, Friedrich Wilhelm; Socrates.; Jovanovski, Thomas; Socrates., Socrates; Nietzsche, Friedrich Wilhelm

During this provocative paintings, Thomas Jovanovski offers a contrasting interpretation to the postmodernist and feminist analyzing of Nietzsche. As Jovanovski keeps, Nietzsche’s written concept is mainly a sustained exercise geared 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 developing, 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 non secular metamorphosis of the West. despite the fact that, Jovanovski contends that Nietzsche doesn't suggest this type of radical social turning as an lead to itself, yet as in simple terms 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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Whereas, he says, on the one hand it is “the strong and domineering natures that enjoy their finest gaiety in such constraint and perfection under a law of their own,” it is, on the other, “the weak characters without power over themselves that hate the constraint of style. They feel that if this bitter and evil constraint were imposed upon them they would be demeaned” (GS 290). ” In “every case” of the beautiful and the ugly, Nietzsche concludes, “it is a question of the conditions of preservation of a certain type of man: thus the herd man will experience the value feeling of the beautiful in the presence of different things than will the exceptional or overman” (WP 804).

And why is Nietzsche so convinced that “only a horizon defined by myths completes and unifies a whole cultural movement” (ibid. 23)? The following answer complements my idea of the character and influence of aesthetic Socratism: Prior to the surprisingly quick and wide adoption of Socrates’ teachings, people’s views of right and wrong, Nietzsche tells us, were guided by tradition-honored, virtually instinctive values. However, with the acceptance of Socrates’ notion that perhaps most of the hardships and limitations of human existence could be relieved or even solved by the application of sheer reason, just about everything—including art, education, social laws, religion, and morality—was transformed into a theme for literally endless philosophical interpretations in which anyone might participate.

Qxd 5/9/07 6:53 AM xxxviii Page xxxviii aesthetic transformations Apollinian dimension must not be taken to mean that the former constitutes the latter’s linguistic peculiarity pushed to its extreme. Although Socratism first appears as something resembling a scion, it is no mere copy of, but an outgrowth that is entirely capable of transforming, its parent plant’s structural identity. It is this artistic “malignancy” which Nietzsche identifies as the single most important development that caused the Apollinian artistic direction to eventually “succumb” and withdraw “into the cocoon of logical schematism” (ibid.

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