Nietzsche presents a challenging conception of aesthetics. One of the most well-known discussions on this issue is presented by Heidegger in Der Wille zur Macht als Kunst. In discussing Nietzsche’s aesthetic theory, Heidegger argues that Nietzsche’s reception of Kantian aesthetics is only ever indirect and necessarily mediated by Schopenhauer. His conclusion hinges on what he considers to be a widespread misinterpretation of Kant’s theory of the beautiful, a misinterpretation that begins with Schopenhauer but characterizes all of Kant’s followers, especially Nietzsche. (...) In this paper, I will consider Nietzsche’s position toward aesthetics from a different perspective, namely in the space between Kant’s and Schopenhauer’s position. The argumentation departs from Nietzsche’s early critique of teleology; his first approaches to aesthetics in Die Geburt der Tragödie ; and his position on the concept of causality and morality. As a careful interpretation of GM III 6 will make clear, Heidegger’s claim that Nietzsche misinterprets Kant is made questionable by the fact that Nietzsche here distinguishes Kant from Schopenhauer’s approach and proposes an artist-based aesthetics in which it is rather Stendhal’s idea of beauty as “une promesse de bonheur” which expresses the human need for illusions in Nietzsche’s conception of aesthetics. (shrink)

Este artigo procura mostrar a importância e o desenvolvimento da crítica da moral na obra de Nietzsche, desde sua primeira formulação até sua forma mais elaborada, na obra tardia. Após a análise dos limites da investigação histórico-genealógica da moral, serão questionados o alcance e a congruência dessa pretensa crítica radical da moral.