By Martin Jay
A brand new number of essays through the across the world well-known cultural critic and highbrow historian Martin Jay that revolves round the topics of violence and visuality, with essays at the Holocaust and digital truth, non secular violence, the artwork global, and the Unicorn Killer, between quite a lot of different subject matters.
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A brand new choice of essays via the across the world well-known cultural critic and highbrow historian Martin Jay that revolves round the topics of violence and visuality, with essays at the Holocaust and digital truth, non secular violence, the paintings international, and the Unicorn Killer, between a variety of different themes.
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In this tone, nature's total i m m o d e r a t i o n was revealed: in pleasure, suffering, and cognition all at once. All that had thus far counted as limit, as measuring determination, proved itself here but artificial seeming [kiinstlicher Schein] ; "immoderation" laid itself bare as the truth. For the first time, in complete drunkenness, the demonically fascinating song of the 42 people trumpeted out an overpowering feeling. Against that feeling, what could the psalmodying artist of Apollo signify, with the only fearfully allusive strains of his cithara?
It is truly existent insofar as it never belongs to the appearances that it generates; and yet "existence" still does not denote 22 substance or grounding being. The primordial unity is not part of the Erscheinungswelt, and yet the phrase "truly existent" should not seduce us into believing that Nietzsche addresses a fullness behind all appearances. 19 It is in this sense that Dionysian music can be the "symbolism ... of the worlcf' (58); it is the immediate echo of the world in its symbolizing activity of worlding.
Now, it will no longer be thought incomprehensible that the very same Will that, as Apollonian, ordered the Hellenic world came to incorporate its other m an ifestation [Erscheinungsform ] , the Dionysian Will. The struggle between these two manifestations of Will had an extraordinary aim: to create a h i g h e r p o s s i b i 1 i t y o f e x i s t e n c e and, also, to arrive in this at a still h i g h e r g l o r i f i c a t i o n (through art) . No longer the art of seeming [Kunst des Scheins], but rather tragic art was the form of this glorification; in it, however, that art of seeming is entirely absorbed.