By Thomas Jovanovski
During this provocative paintings, Thomas Jovanovski provides a contrasting interpretation to the postmodernist and feminist analyzing of Nietzsche. As Jovanovski keeps, Nietzsche’s written proposal is chiefly a sustained activity 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 constructing, a brand new world-historical ethic and aesthetic course grounded in cause, technological know-how, and optimism, so does Nietzsche regard the rebirth of an outdated tragic mythos because the car towards a cultural, political, and non secular metamorphosis of the West. notwithstanding, Jovanovski contends that Nietzsche doesn't recommend the sort of radical social turning as an result in itself, yet as in basic 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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During this provocative paintings, Thomas Jovanovski offers a contrasting interpretation to the postmodernist and feminist studying of Nietzsche. As Jovanovski continues, Nietzsche’s written concept is mainly a sustained activity 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.
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Additional info for Aesthetic Transformations: Taking Nietzsche at His Word (American University Studies)
The truth which both of these perspectives have chosen to conscientiously disregard might be formulated as follows: Whereas it would not be incorrect to consider Nietzsche’s trademark ideas as comprising the most telling countervailing force against Socrates’ rationalism, they could not be cogently characterized as having been called into existence for the primary purpose of serving as just such a force. Accordingly, we shall have gone far toward understanding the letter and spirit of our discussion once we grasp the fact that in relation to Nietzsche’s explicitly stated intent, Kaufmann’s and postmodernism’s interpretations are not simply projects whose respective tasks amount to the futile attempt to snuggly fit a multi-angled figure into a perfectly round hole, but the products of personal and/or politically correct agendas whose claims and implications Nietzsche would have found detestable.
The last of these parallels is what at the same time separates these thinkers: While Socrates insists that the reason, order, and balance which constitute any work of art ought to reflect and reaffirm our cultural morality and collective conscience, Nietzsche deems it more important that we attempt to channel reason, order, and balance into the creation of a supra-human, a heretofore unheard-of kind of beauty. Accordingly, instead of joining the postmodernists in their celebration of the notion that Nietzsche’s perspectivism signifies the beginning of the “end of philosophy,” we would do better to exhibit a somewhat more sober sense of proportion by attempting to gain insight into the timeless element of Nietzsche’s idea of beauty—and especially how this element could be expressed physiologically.
Once we have lost all the instincts out of which institutions grow, we lose institutions altogether because we are no longer good for them” (TI “Skirmishes of an Untimely Man” 39). Nor, Nietzsche insists, can we afford to continue ignoring the correlation between Socrates’ appearance and the decline of the West’s artistic affirmation of life; for it has been largely this long inattention that has given rise to the prevailing “will to deception”—an Alexandrianism which “proposes as its ideal the theoretical man equipped with the greatest forces of knowledge, and laboring in the service of science, whose archetype and progenitor is Socrates” (BT 18).