The Dialectics of Nietzsche's Metaphilosophies (original) (raw)
The Growth of Nietzsche's philosophy
This paper examines how Nietzsche came to his philosophy. Elements in the Birth of Tragedy are examined to show how it developed. Specifically the Apollonian-Dionysian distinction, the importance of the chorus, and the relevance to his contemporaries.
Art, Pessimism and Myth: Nietzsche’s Metaphysics in the 'Birth of Tragedy'
The paper will aim to show that the early Nietzsche, at the time of writing the 'Birth of tragedy', can be shown to subscribe to three broad evaluative positions; those of: metaphysical scepticism and metaphyiscal pessimism, alongside what can be termed his "poietic epistemology". The first part of the paper will establish and elucidate these positions, whilst the second part will then situate the metaphysics of the Birth within the context of them.
Philosophy as grotesque: the case of Nietzsche.
Reading philosophy through the figuration of the grotesque might provide us with an ontology that embraces change, fluidity, and disorder. In my estimation, such ontological framework gives rise to an epistemology that stands out for an incapacity to represent and be represented via classical tools of philosophy. I will argue that Nietzsche conceived of philosophy precisely in this fashion. Viewing Nietzsche through the lens of the grotesque, thus, holds the promise for enhancing our understanding of his style, outlook, and overall philosophy. More specifically, insights may be gleaned on different features of his work by comparing them to facets of a ‘grotesque theory,’ as the latter presents philosophy the way Nietzsche sought: as exceeding, ambiguous, unstable, eclectic, and heterogeneous.
Friedrich Nietzsche's The Birth of Tragedy begins with a section added sixteen years after the book's original date of publication. The aim of this new preface was to provide the reader with an assessment of the quality and purpose of this, his first book. 1 Nietzsche seems to have thought very little of The Birth of Tragedy but its purpose is nonetheless commensurate with his later work, asking a question to which he had since applied himself: how is scholarship to be seen from the perspective of art and how is art to be seen from the perspective of life. 2 To
Nietzsche on Music: Perspectives from The Birth of Tragedy
2004
Since the first appearance of The Hirth ofTragedy Ollt ofthe Spirit of Music, Nietzsche has arguably proved to he amongst the most influential intellectuals upon European artistic practice. Indeed, four musicians with strong Nietzschean traces who immediately come to mind are Richard Strauss (Also Sprach Zarathustra, 1895) and Gustav Mahler (Symphony NO.3 in D Minor, 189511896), Frederick Delius (A Mass of Life, 19°4119°5) and Arnold Schoenberg (Der Wanderer in E~'tht Songs, Opus 6, 19°3119°5). Yet this paper is not concerned with the vicissitudes of Nietzsche's influence upon musicians over the last four or five generations, let alone with the influence of a Richard Wagner or a Georges Bizet upon him, nor, for that matter, with his own attempts at composition. The Birth ofTragedy, in common with Nietzsche's other publications, verges upon the potentially intimidating. Even on a cursory reading, it presents its readers with significant problems of how they are to orient ...