Reflexões de Friedrich Nietzsche a respeito da música.

O presente ensaio tem como objetivo mostrar consequências teóricas de uma tensão latente entre a noção de tragédia no Nietzsche d’O nascimento da tragédia e a compreensão schopenhaueriana da música. Tal tensão se dá não apenas no âmbito de interpretações estéticas das referidas artes por parte dos filósofos mencionados, mas demonstra disparidades fundamentais no pensamento do jovem Nietzsche em relação à metafísica de O mundo como Vontade e Representação. A hipótese é que essas disparidades culminariam num ponto de cesura entre (...) as filosofias de Schopenhauer e Nietzsche, bem como no fenecimento da amizade deste com Richard Wagner. The following essay aims to show the theoretical consequences of a latent tension between the notion of tragedy in Nietzsche’s The Birth of Tragedy and the Schopenhauerian comprehension of music. This tension occurs not just within the aesthetics interpretations of the mentioned arts by the philosophers cited, but it demonstrates fundamental disparities in the young Nietzsche’s thought in respect to the metaphysics of The World as Will and Representation. The hypothesis is that these disparities would culminate in a caesura point between the philosophies of Schopenhauer and Nietzsche, as well in the decline of the friendship of this one with Richard Wagner. (shrink)

“Il mondo è una mia rappresentazione”. Così esordisce il filosofo tedesco riducendo la realtà appunto ad una mera rappresentazione fenomenica. Essa nient’altro è che il Velo di Maja della realtà vera. Ossia del noumeno; della cosa in sé, che Schopenhauer inquadrerà nella volontà. Nota: gli e-book editi da E-text in collaborazione con Liber Liber sono tutti privi di DRM; si possono quindi leggere su qualsiasi lettore di e-book, si possono copiare su più dispositivi e, volendo, si possono anche modificare. (...) Questo e-book aiuta il sito di Liber Liber, una mediateca che rende disponibili gratuitamente migliaia di capolavori della letteratura e della musica. (shrink)

O mundo como vontade e representação, de A. Schopenhauer, constitui uma das principais fontes da primeira fase produtiva da obra de F. Nietzsche. O artigo ressalta os principais pontos da metafisica da música desenvolvida no terceiro capitulo da obra de Schopenhauer e indica as suas influências determinantes sobre o jovem Nietzsche.

O mundo como vontade e representação, de A. Schopenhauer, constitui uma das principais fontes da primeira fase produtiva da obra de F. Nietzsche. O artigo ressalta os principais pontos da metafisica da música desenvolvida no terceiro capitulo da obra de Schopenhauer e indica as suas influências determinantes sobre o jovem Nietzsche.

AN NYRB Classics Original In 1869, at the age of twenty-four, the precociously brilliant Friedrich Nietzsche was appointed to a professorship of classical philology at the University of Basel. He seemed marked for a successful and conventional academic career. Then the philosophy of Schopenhauer and the music of Wagner transformed his ambitions. The genius of such thinkers and makers—the kind of genius that had emerged in ancient Greece—this alone was the touchstone for true understanding. But how was education to (...) serve genius, especially in a modern society marked more and more by an unholy alliance between academic specialization, mass-market journalism, and the militarized state? Something more than sturdy scholarship was called for. A new way of teaching and questioning, a new philosophy... What that new way might be was the question Nietzsche broached in five vivid, popular public lectures in Basel in 1872. Anti-Education presents a provocative and timely reckoning with what remains one of the central challenges of the modern world. (shrink)

Friedrich Nietzsche: Schopenhauer als Erzieher Lesefreundlicher Großdruck in 16-pt-Schrift Großformat, 210 x 297 mm Berliner Ausgabe, 2019 Durchgesehener Neusatz mit einer Biographie des Autors bearbeitet und eingerichtet von Theodor Borken Erstdruck: Leipzig (E.W. Fritzsch) 1874. Textgrundlage ist die Ausgabe: Friedrich Nietzsche: Werke in drei Bänden. Band 1, Herausgegeben von Karl Schlechta. München: Hanser, 1954. Umschlaggestaltung von Thomas Schultz-Overhage. Gesetzt aus der Minion Pro, 16 pt. Henricus Edition Deutsche Klassik UG (haftungsbeschränkt).

This volume provides the first English translation of Nietzsche's unpublished notes from the spring of 1884 through the winter of 1884-85, the period in which he was composing the fourth and final part of his favorite work, Thus Spoke Zarathustra. These notebooks therefore provide special insight into Nietzsche's philosophical concept of superior humans,as well as important clues to the identities of the famous nineteenth-century European figures who inspired Nietzsche's invention of fictional characters such as "the prophet," "the sorcerer," and "the (...) ugliest human." In these notebooks, Nietzsche also further explores ideas that were introduced in the first three parts of Thus Spoke Zarathustra: Zarathustra's teaching about the death of God; his proclamation that it is time for humankind to overcome itself and create the superhumans; his discovery that the secret of life is the will to power; and his most profound thought--that the entire cosmos will eternally return. Readers will encounter here a wealth of material that Nietzsche would include in his next book, Beyond Good and Evil, as he engages the ideas of Kant and Schopenhauer, challenges cultural icons like Richard Wagner, and mercilessly exposes the foibles of his contemporaries, especially of his fellow Germans. Readers will also discover an extensive collection of Nietzsche's poetry. Richly annotated and accompanied by a detailed translators' afterword, this volume showcases the cosmopolitanism at work in Nietzsche's multifaceted and critical exploration of aesthetic and cultural influences that transcend national (and nationalist) notions of literature, music, and culture. (shrink)

Friedrich Wilhelm Nietzsche (1844-1900) was a German philosopher. His writing included critiques of religion, morality, contemporary culture, philosophy and science, using a distinctive style and displaying a fondness for aphorism. Nietzsche s influence remains substantial within and beyond philosophy, notably in existentialism and postmodernism. He began his career as a philologist before turning to philosophy. At the age of 24 he became Professor of Classical Philology at the University of Basel, but resigned in 1879 due to health problems, which would (...) plague him for most of his life. In 1889 he exhibited symptoms of serious mental illness, living out his remaining years in the care of his mother and sister until his death in 1900. His works include From my Life (1858), On Music (1858), Napoleon III as a President (1862), Free Willand Fate (1862), My Life (1864), The Birth of Tragedy (1872), Richard Wagner in Bayreuth (1876), Human, All-Too-Human (1878), Beyond Good and Evil (1886), The Antichrist (1888) and Ecce Homo (1888). (shrink)

AN NYRB Classics Original In 1869, at the age of twenty-four, the precociously brilliant Friedrich Nietzsche was appointed to a professorship of classical philology at the University of Basel. He seemed marked for a successful and conventional academic career. Then the philosophy of Schopenhauer and the music of Wagner transformed his ambitions. The genius of such thinkers and makers—the kind of genius that had emerged in ancient Greece—this alone was the touchstone for true understanding. But how was education to (...) serve genius, especially in a modern society marked more and more by an unholy alliance between academic specialization, mass-market journalism, and the militarized state? Something more than sturdy scholarship was called for. A new way of teaching and questioning, a new philosophy... What that new way might be was the question Nietzsche broached in five vivid, popular public lectures in Basel in 1872. Anti-Education presents a provocative and timely reckoning with what remains one of the central challenges of the modern world. (shrink)

This innovative - and pessimistic - view has proved powerfully influential upon philosophy and art, directly affecting the work of Nietzsche, Wittgenstein and ...

This English translation—the first since 1909—restores Human, All Too Human to its proper central position in the Nietzsche canon. First published in 1878, the book marks the philosophical coming of age of Friedrich Nietzsche. In it he rejects the romanticism of his early work, influenced by Wagner and Schopenhauer, and looks to enlightened reason and science. The "Free Spirit" enters, untrammeled by all accepted conventions, a precursor of Zarathustra. The result is 638 stunning aphorisms about everything under and above (...) the sun. (shrink)

Daybreak marks the arrival of Nietzsche's 'mature' philosophy and is indispensable for an understanding of his critique of morality and 'revaluation of all values'. This volume presents the distinguished translation by R. J. Hollingdale, with a new introduction that argues for a dramatic change in Nietzsche's views from Human, All Too Human to Daybreak, and shows how this change, in turn, presages the main themes of Nietzsche's later and better-known works such as On the Genealogy of Morality. The main themes (...) of Daybreak are located in their intellectual and philosophical contexts: in Nietzsche's training as a classical philologist and his fascination with the Sophists and Thucydides; in the moral philosophies of Kant and Schopenhauer, which are the central foci of Nietzsche's critique of morality; and in the German Materialist movement of the 1850s and after, which shaped Nietzsche's conception of persons. The edition is completed by a chronology, notes and a guide to further reading. (shrink)

A new, comprehensive English anthology What is the meaning of life? How should I live? Is there any purpose to the universe? Generations have turned to the great German philosopher Arthur Schopenhauer for answers to such essential questions of existence. His influence has extended not only to later philosophers—Nietzsche, Freud, and Wittgenstein among them—but also to musicians, artists, and important novelists such as Tolstoy, Thomas Mann, and Proust. The Essential Schopenhauer, the most comprehensive English anthology now available of (...) this seminal thinker’s writings, will open English readers to Schopenhauer’s profound ideas. Selected by Wolfgang Schirmacher, president of the International Schopenhauer Association, The Essential Schopenhauer is an invaluable and accessible introduction to Schopenhauer’s powerful body of work. (shrink)

An introduction and translator's note by translator Peter Preuss are included in the text.

"The Wisdom of Life and Counsels and Maxims," by philosopher Arthur Schopenhauer, offers a more accurate and realistic outlook on life than his student, Friedrich Nietzsche. While many disagree with Schopenhauer's renunciation of life, there is much to agree with in this book. Schopenhauer doesn't see a whole lot to celebrate in this vale of tears. His general view in "The Wisdom of Life and Counsels and Maxims" is summed up thus: Life is hell. Try to find (...) a room furthest from the flames. If you tend towards a sunnier view of things then you're very likely to find this book by the grandmaster of philosophical pessimism unduly cynical. But if you've pretty much had it with the world and seldom meet a man (or woman) you wouldn't rather see the back of, you'll be delighted to find a fellow traveler and find wit and solace in Schopenhauer's acidic view of this "wonderful gift of life." Though riddled with hard-nosed realism and misanthropy, "The Wisdom of Life and Counsels and Maxims" is positively entertaining and enjoyable. Schopenhauer's style is fluid, prosaic, and imaginative, unlike most German philosophy. In lieu of modern world events, it is probably more relevant a work today than ever before. Schopenhauer discusses an array of subjects, such as the emptiness of those things commonly pursued by the masses (money, status/position, vanity, sensual pleasure, etc.), and those most commonly ignored by most (temperance, good health, character, individuality, and developing one's mind). Small, fleeting pleasures notwithstanding, Schopenhauer casts an unflinchingly jaundiced eye on the experience of human life and doesn't sweeten the pill. For its bracing honesty alone, this book deserves its reputation as one of the greatest philosophical manuals of how to best live our lives ever written. (shrink)

Note on the texts -- Note on the translation -- October 1867 - April 1868 : on Schopenhauer -- Notebook 1, autumn 1869 -- Notebook 2, winter 1869/1870 - spring 1870 -- Notebook 3, winter 1869/1870 - spring 1870 -- Notebook 5, September 1870 - January 1871 -- Notebook 6, end of 1870 -- Notebook 7, end of 1870 - April 1871 -- Notebook 9, 1871 -- Notebook 10, beginning of 1871 -- Notebook 11, February 1871 -- Notebook 12, (...) spring 1871 -- Notebook 16, summer 1871 - spring 1872 -- Notebook 19, summer 1872 - beginning of 1873 -- Notebook 23, winter 1872/1873 -- Notebook 28, spring-autumn 1873 -- Notebook 29, summer-autumn 1873 -- Notebook 30, autumn 1873 - winter 1873/1874 -- Notebook 31, autumn 1873 - winter 1873/1874 -- Notebook 32, beginning of 1874 - spring 1874 -- Notebook 34, spring-summer 1874 -- Notebook 37, end of 1874 -- Notebook 3, March 1875 -- Notebook 5, spring-summer 1875 -- Notebook 6, summer? 1875 -- Notebook 17, summer 1876 -- Notebook 19, October-December 1876 -- Notebook 21, end of 1876 - summer 1877 -- Notebook 23, end of 1876 - summer 1877 -- Notebook 27, spring-summer 1878 -- Notebook 28, spring-summer 1878 -- Notebook 29, summer 1878 -- Notebook 30, summer 1878 -- Notebook 33, autumn 1878 -- Notebook 40, June-July 1879 -- Notebook 41, July 1879 -- Notebook 42, July-August 1879 -- Notebook 47, September-November 1879 -- On the pathos of truth -- On truth and lie in an extra-moral sense. (shrink)

Chulpforta, 1862 -- Napoleon III as president -- Saint-just -- Two-poem cycle two kings -- Louis the sixteenth -- Louis the fifteenth -- Agonistic politics, 1871-1874 -- The Greek state, 1871 -- On the future of our educational institutions, third lecture, February 27th, 1872 -- Homer's contest -- Untimely meditations -- David Strauss : the confessor and the writer, 1873 -- Schopenhauer as educator, 1874 -- The free spirit, 1878-1880 -- Human, all too human : a book for free (...) spirits, 1878 -- Miscellaneous maxims and opinions, 1879 -- The wanderer and his shadow, 1880 -- The campaign against morality, 1881-1885 -- Dawn of day thoughts on the prejudices of morality, 1881 -- The joyful wisdom, 1882 -- Thus spoke Zarathustra : a book for everyone and no one, 1883-1885 -- On the new idol -- On the rabble -- On the Tarantulas -- On old and new law tablets -- Conversation with the kings -- Nachlass fragments, 1883-1885 -- Aristocratic radical, 1886-1887 -- Beyond good and evil : prelude to a philosophy of the future, 1886 -- The joyful wisdom, book v, 1887 -- On the genealogy of morals : a polemical tract, 1887 -- First essay, good and evil, good, and bad -- Second essay, guilt, bad conscience, and related matters -- Third essay, what do ascetic ideals mean? -- Nachlass fragments, 1885-1887 -- The antichrist, 1888 -- Twilight of the idols : or how one philosophises with a hammer, 1888 -- Morality as anti-nature -- The improvers of mankind -- What the Germans lack -- Skirmishes of an untimely man -- The antichrist : a curse on Christianity, 1888 -- Ecce homo : how one becomes what one is, 1888 -- Why I am so wise -- Why I write such good books -- The case of Wagner : a musician's problem -- Why I am a destiny -- Nachlass fragments, 1887-1888. (shrink)

This is the third volume to appear in an edition that will be the first complete, critical, and annotated English translation of all of Nietzsche's work. The edition is a new English translation, by various hands, of the celebrated Colli-Montinari edition. The present volume provides for the first time English translations of all of Nietzsche's unpublished notebooks from summer 1872 to the end of 1874. The major works published in this period were the first three Unfashionable Observations: 'David Strauss the (...) Confessor and the Writer,' 'On the Utility and Liability of History for Life,' and 'Schopenhauer as educator.' Translations of the preliminary notes for these pieces are coordinated with the translations of the published texts printed in Volume 2: Unfashionable Observations. These notebooks represent important transitional documents in Nietzsche's intellectual development, marking, among other things, the shift away from philological studies toward unabashed cultural criticism. (shrink)

This volume presents an English translation of Nietzsche's Unzeitgemasse Betrachtungen or, Unfashionable Observations. The common impulse that links up these four essays is Nietzsche's attitude towards all mainstream and popular movements that constituted contemporary European, and especially German culture. The work offers the foundations for Nietzsche's whole philosophy, prefiguring both his characteristic philosophical style and many of the major ideas he develops in his later writings.

1. Stück. David Strauss, der Bekenner und der Schriftsteller -- 2. Stück. Vom Nutzen und Nachteil der Historie für das Leben -- 3. Stück. Schopenhauer als Erzieher -- 4. Stück. Richard Wagner in Bayreuth.

Em termos gerais, o artigo investiga as potencialidades e limites do discurso filosófico sobre música a partir do pensamento de Arthur Schopenhauer. Mais especificamente, pretende-se plausibilizar a tese de que a filosofia da música de Schopenhauer, por operar de maneira autoconsciente no terreno da analogia e por se compreender como uma metafísica robusta da música, é um espaço privilegiado para se estudar a natureza mesma da estética filosófica. Para tal, o artigo oferece uma reconstrução panorâmica tanto das principais (...) linhas de força do seu sistema quanto de sua estética, para enfim interrogar a fundamentação de seus procedimentos de elaboração conceitual a partir de desdobramentos da estética e teoria musicais do século XX. (shrink)

Ce voyageur, qui avait vu beaucoup de pays et de peuples, et visité plusieurs parties du monde, et à qui l'on demandait quel était le caractère général qu'il avait retrouvé chez tous les hommes, répondait que c'était leur penchant à la paresse. Certaines gens penseront qu'il eût pu répondre avec plus de justesse: ils sont tous craintifs. Au fond, tout homme sait fort bien qu'il n'est sur la terre qu'une seule fois, en un exemplaire unique, et qu'aucun hasard, si singulier (...) qu'il soit, ne réunira, pour la seconde fois, en une seule unité, quelque chose d'aussi multiple et d'aussi curieusement mêlé que lui. Il le sait, mais il s'en cache, comme s'il avait mauvaise conscience. Pourquoi? Par crainte du voisin, qui exige la convention et s'en enveloppe lui-même. (shrink)

The Greek State.--The Greek woman.--On music and words.--Homer's contest.--The relation of Schopenhauer's philosophy to a German culture.--Philosophy during the tragic age of the Greeks.--On truth and falsity in their ultramoral sense.

Il volume presenta una storia della filosofia della musica. A partire dalle idee sulla musica dei filosofi antichi, attraverso le concezioni medievali e rinascimentali, il volume considera l'impatto della rivoluzione scientifica, la stagione illuminista e gli sviluppi ottocenteschi, per giungere infine al ricco dibattito contemporaneo. Tra i principali autori trattati: i pitagorici, Platone, Aristotele, Aristosseno, Boezio, Agostino, Tomaso d'Aquino, Ficino, Galileo, Mersenne, Cartesio, Leibniz, Rousseau, Kant, Novalis, Schelling, Wackenroder, Hoffmann, Schopenhauer, Kierkegaard, Hegel, Hanslick, Helmholtz, Nietzsche, Bloch, Adorno, Jankélévitch, Wittgenstein, (...) Langer, Kivy, Levinson, Scruton. (shrink)

El presente ensayo explora el itinerario de la crítica que Nietzsche ejerció sobre el arte de Wagner en tres pasos. Primero, se trata de reconocer la juvenil admiración del filósofo por la ópera wagneriana entendida como un renacimiento del drama musical antiguo. Luego, se explora el tránsito hacia su desilusión en la clave de la influencia de Schopenhauer sobre Wagner. Finalmente, el ensayo remata en la crítica madura de Nietzsche sobre Wagner, donde se advierten los prolegómenos decimonónicos de la (...) transformación general del arte en espectáculo en el sentido contemporáneo. (shrink)

Tomando en cuenta el título completo de "El nacimiento de la tragedia del espíritu de la música " título que alude al problema filológico de los orígenes- puede comprenderse mejor la concepción nietzscheana del arte y su crítica de las teorías estéticas tradicionales. El planteamiento aristotélico que subyace a estas teorías parte de la separación entre obra, autor y público, es decir del principio artístico de lo "apolíne".Tal separación no es válida en el caso de la tragedia. Nietzsche rompe con (...) la tradición aristotélica que convierte a la tragedia en un "drama para la lectura", poniendo énfasis en la totalidad del espectáculo dramático. (shrink)

A reflexão tem como objetivo identificar aspectos de um pensamento educacional no conjunto das obras, em Nietzsche, como uma perspectiva de autotransformação. Defende a tese de que a perspectiva educacional do filósofo é crítica e se apresenta como uma antieducação, na medida em que se contrapõe ao modelo educativo tradicional. Tendo como procedimento metodológico a pesquisa bibliográfica, recorreu-se à seleção de textos e obras que abordaram a temática da Educação nas três fases do pensamento de Nietzsche. Na primeira fase, consideram-se (...) os textos: “Sobre o futuro dos nossos estabelecimentos de ensino” e a “Terceira Consideração extemporânea: Schopenhauer como educador”. Neles, identificam-se aspectos de um projeto educativo em devir na filosofia de Nietzsche, voltado à renovação da cultura alemã daquela época. Já na segunda fase, trata-se da ruptura com a filosofia de Schopenhauer, e com a música de Richard Wagner como aspectos fundamentais de um projeto educacional que passou a inaugurar a “Escola da Suspeita” na obra Humano, demasiado humano, que leva Nietzsche a pensar na ciência como um contraponto à forma metafísica de entender o mundo. Ele dá preferência às coisas demasiadamente humanas, ou seja, pensa na Educação como libertação, na perspectiva do espírito livre. Em decorrência do pensamento educacional de Nietzsche, em sua terceira fase na obra Assim falou Zaratustra, identificam-se quatro aspectos da antieducação traduzidos como: o ensino da solidão; o ensino da elevação; o ensino da grande razão; e o ensino da afirmação. Conclui-se que tais aspectos constituem um quadro interpretativo, os quais articulam as lições filosófico-existenciais de uma Pedagogia Crítica na Educação, contrária à tradição ocidental que construiu, em seus processos educativos, uma cultura da gregariedade e da negação da vida. (shrink)

This paper aims to offer an image of Nietzsche as a reader of Schopenhauer, putting aside some fundamental issues, such as the influence of Wagner and the critique of his former master in his late philosophy. Trying to isolate these aspects, I will take Nietzsche as one of the most important reader of Schopenhauer. His deep veneration does not exclude relentless criticism and his relentless criticism does not exclude his deep veneration of Schopenhauer.

O sublime vem sendo analisado desde a antiguidade com uma marcante relaçáo com a tragédia, seja como gênero literário, seja por meio da Poética , de Aristóteles que nos traduz pela catarse o sentimento do sublime. Na modernidade, novos nomes foram chegando para colaborar com esta teoria: o próprio Hume, em seu ensaio Da tragédia , mostrou-se impressionado com a capacidade que esta forma de arte tem de produzir efeitos táo intensos no espectador. Porém, quem mais fortaleceu a análise (...) do sublime na modernidade, servindo de base para o próprio Kant foi Edmund Burke, com sua obra Uma investigaçáo filosófica sobre as idéias do sublime e do belo . A terceira crítica de Kant dedicou um momento especial à analise do sublime, a qual já havia servido como base também para Schopenhauer que, no entanto, a partir dela, construíra sua própria estética que viria a ser de suma importância para o jovem Nieztsche, sobretudo devido à consideraçáo da música como arte sublime. Nietzsche, entáo, construiu sua sabedoria trágica,com base na experiência sublime da tragédia. A questáo que este artigo quer tratar é exatamente: é possível pensar numa metafísica do sublime ,com base em Nietzsche ? Palavras-chaves : Kant, Metafísica, Nietzsche, Schopenhauer, Sublime. (shrink)

O sublime vem sendo analisado desde a antiguidade com uma marcante relaçáo com a tragédia, seja como gênero literário, seja por meio da Poética , de Aristóteles que nos traduz pela catarse o sentimento do sublime. Na modernidade, novos nomes foram chegando para colaborar com esta teoria: o próprio Hume, em seu ensaio Da tragédia , mostrou-se impressionado com a capacidade que esta forma de arte tem de produzir efeitos táo intensos no espectador. Porém, quem mais fortaleceu a análise (...) do sublime na modernidade, servindo de base para o próprio Kant foi Edmund Burke, com sua obra Uma investigaçáo filosófica sobre as idéias do sublime e do belo . A terceira crítica de Kant dedicou um momento especial à analise do sublime, a qual já havia servido como base também para Schopenhauer que, no entanto, a partir dela, construíra sua própria estética que viria a ser de suma importância para o jovem Nieztsche, sobretudo devido à consideraçáo da música como arte sublime. Nietzsche, entáo, construiu sua sabedoria trágica,com base na experiência sublime da tragédia. A questáo que este artigo quer tratar é exatamente: é possível pensar numa metafísica do sublime ,com base em Nietzsche ? Palavras-chaves : Kant, Metafísica, Nietzsche, Schopenhauer, Sublime. (shrink)

O presente artigo pretende apresentar um recorte da filosofia da arte na Alemanha, nos séculos XVIII e XIX, tendo como foco o contexto em que se insere O nascimento da tragédia, de Nietzsche. Para isso, serão discutidos mais especificamente os conceitos de intuição estética e princípio de individuação, a partir de Schelling e Schopenhauer, respectivamente.

The concept of “health”, in Nietzsche’s philosophy, is not opposed to that of disease but incorporates it within itself. The paper aims to show how being in “good health” has, according to Nietzsche, a physiological significance that is intimately connected to aesthetics. Richard Wagner’s music is the iconic example of how rhythm from medicine can become poison and lead a body to décadence. Even in some patients with neurological diseases, musical rhythm can function as medicine, which does not work equally (...) for everyone but according to individual, embodied laws. (shrink)

TRANSLATORS PREFACE THE PRESENT TRANSLATION OF GEORG SIMMEL'S Schopen- hauer und Nietzsche: Ein Vortragszyklus (1907), ...

The concept of vagueness is essential to understand some Nietzsche’s main ideas about the relationship between language and reality. In this way, is it precisely vagueness, and not ambiguity or polysemy, which characterizes verbal-conceptual language for Nietzsche? In order to answer this question, firstly I will summarize the functions of the cognitive process, underlying all types of languages. Secondly, I will identify the Nietzsche’s closer concept in relation with the modern concept of ‘vagueness’ and interpret it following the rst section. (...) Thirdly, I will brie y examine what type of symbolic language is mu- sic. Finally, I will develop a comparison between verbal-conceptual language and musical language concerning the property of vagueness. The paper approach will be more theoretical than historio-graphical, because it focuses on the potential of Nietzsche’s thought regarding both the philosophy of language and the philosophy of music. (shrink)

The scope of this investigation is to find out to what extent the style (Stil), for the young Nietzsche, consists of a means through which the philosopher accomplishes the supreme task of philosophy: the formation (Bildung). I start from the statement that the stylistic problem composes one of the main elements of the evaluation that the young philosopher makes of the German formation and culture (Kultur) of his time to, finally, present how Nietzsche finds in the extemporaneous character of style (...) and in the Schopenhauer's philosophy the way to overcome the barbarism (Barbarei). (shrink)

This chapter contains sections titled: Nietzsche's Conversion The Impact of Lange Criticising Schopenhauer Reconstructing Schopenhauer Postscript References.

ABSTRACT While a common view in the literature is that Nietzsche cannot successfully argue against Schopenhauer’s pessimism, a detailed explanation of why this is so is lacking. In this paper I provide such a detailed analysis. Specifically, a consideration of three of Nietzsche’s strategies for a revaluation of pain and suffering reveals two problems: the problem of ‘the direction of revaluation’ and the ‘dilemma of the intransigence of hedonism’. According to the first, the success of a revaluation cannot be (...) guaranteed on strictly argumentative grounds and can in principle bring about a revaluation that proceeds in the opposite direction than the one desired. According to the second, Nietzsche’s revaluations are of no significance since they either ground an un-Nietzschean affirmation of life, or they do not engage pessimism’s hedonistic perspective on the basis of which it condemns life. I then examine two strategies that Nietzsche can be seen to employ in his attempts to revalue the hedonistic perspective itself and explain why they too are unsatisfactory. The analysis illuminates the nature of the dialectical stand-off between Nietzsche and Schopenhauer and clarifies the limitations of Nietzschean revaluations as a philosophical tool. (shrink)

Reinhold, em sua Filosofia elementar, e Schopenhauer, com sua obra principal O mundo como vontade e representação, se consideram herdeiros de Kant e ambos falam em fatos muito semelhantes sobre os méritos inegáveis e as deficiências da Crítica da razão. No entanto, esforçam-se para apresentar uma filosofia kantiana revisada por meio de uma construção de conceitos de nível superior, mas mantendo a convicção de que as coisas em si mesmas formam um dos pilares fundamentais do sistema. Assim, o intuito (...) deste trabalho é conferir, sobre o pano de fundo kantiano, a aproximação entre os dois pensadores alegada por Martin Bondeli em sua obra Reinhold e Schopenhauer: zwei Denkwelten im Banne von Vorstellung und Wille. (shrink)

Em 1869, ano de início de sua atividade como professor na Universidade da Basiléia, Nietzsche desenvolve em inúmeros cursos e conferências uma reflexão sobre a experiência musical e poética, na qual enfatiza a união da palavra e da música na sensibilidade grega e sua separação na sensibilidade moderna. Esse tema será retomado nos anos seguintes, durante a redação de O nascimento da tragédia, seja na reflexão sobre a arte grega, seja na crítica à ópera moderna, dando lugar a uma investigação (...) sobre a diferença de natureza entre os domínios sonoro e linguístico, aos quais correspondem formas distintas de experimentar a arte. Pretendo, neste trabalho, mostrar como a rede de relações tecida por Nietzsche entre música e palavra permite elucidar não apenas a especificidade da música como arte, mas também a singularidade da experiência estética que ela torna possível. (shrink)

Il presente saggio mette in evidenza come i Beiträge zur Charakterologie di Bahnsen abbiano rappresentato un primo filtro interpretativo per la ricezione in Nietzsche di alcuni importanti temi della filosofia di Schopenhauer. Il giovane Nietzsche condivide non solo la critica di Bahnsen al radicale dualismo posto da Schopenhauer tra volontà e intelletto, ma anche la tesi che le inclinazioni intellettuali derivino dalla peculiarità del carattere individuale. Le osservazioni di Bahnsen sulla dottrina del carattere di Schopenhauer rappresentano la (...) chiave interpretativa con cui Nietzsche spiega la sua adesione alla filosofia di Schopenhauer. Dal punto di vista di Nietzsche l’affinità con Schopenhauer è prova di un carattere incapace di soddisfare il suo bisogno metafisico attraverso il ricorso alla religione. Nietzsche concorda anche con Bahnsen sul fatto che l'eccessiva auto-riflessione inibisca l'azione e l'espressione autentica del carattere individuale e, di conseguenza, che la voce dell'istinto sia preferibile alla guida dell'intelletto. (shrink)