Nietzsche: The Birth of Tragedy

Nietzsche’s Birth of Tragedy overcomes the opposition between scientific optimism and Schopenhauerian pessimism with the image of a music-making Socrates, who symbolizes the aesthetic affirmation of life. This article shows how the aesthetic ideal is an illusion whose metaphysical solace undermines itself in being recognized as such, thereby ceasing to be comforting. While I agree with recent commentaries that contest the pervasive Schopenhauerian reading of The Birth, most of these commentaries still support the view that Nietzsche wishes to communicate some (...) fundamental truth about nature or meaning in life. By contrast, I argue that he treats any such truth as a cultural fiction that emerges from the poetic staging of reality, leaving us with a contradiction of appearances deprived of any intelligible ground. (shrink)

In his debut book, The Birth of Tragedy, Nietzsche presents what he understands as a metaphysics of art or metaphysics of the artist. As it becomes clear throughout the argument developed in the work, his aim is to favor a justification of the world and of existence as an aesthetic phenomenon. The path to his metaphysics passes through the interaction with Kantian and, mostly, Schopenhauerian formulations, and through a deep dialogue with Greek culture in general and, indirectly, with Pre-Socratic thought. (...) The objective of this article is to delimit the retentions and displacements of the critical tradition in his book from 1872, and highlight the importance of the interlocution with the Greek cultural repertoire in the conformation of his metaphysics of the artist. In particular, the working hypothesis is that Nietzsche, in these approaches and appropriations of critical and archaic philosophical tradition, finds the possibility of an immanent metaphysics in the post-Kantian context, conceived as a physiology (in the antique sense) of aesthetic bias. (shrink)

The tragic philosophy of Nietzsche was conceived in his first book: that famous essay The Birth of Tragedy from the Spirit of Music [Die Geburt der Tragödie aus dem Geiste der Musik] published in 1872. In this paper we will approach the intimate relation between greek Art and greek Religions from a philosophical aesthetical point of view, reflecting how the tragic reconciliation of the dionysiac phenomenon would have promoted, according to Nietzsche, a time of great artistic sensibility and relative balance (...) of the political life for the greeks, by creating a permanent tension between the impulse of individuation and the impulse of denial of individuation. (shrink)

Deleuze does not mention Schopenhauer very frequently. Certainly Schopenhauer does not appear to be in the counter-canon of life-affirming philosophers that Deleuze so values – indeed, far from it. Nor does he appear to be even a favoured ‘enemy’ as he describes Kant, or as he sometimes appears to view Hegel. Nevertheless, I think Schopenhauer’s break from Kant is crucial for understanding not only Deleuze’s account of Nietzsche, but also for a proper grasp of the core Deleuzian distinction between the (...) actual and the virtual, at least in its guise as the distinction between desiring-production and social production in Anti-Oedipus. (shrink)

An irony, however, is that although Nietzsche had read extensively important philosophers of his time, and in fact, had been known for his ad hominem criticisms on his predecessors, there is an astonishing silence on Marx in the Nietzsche literature, as if Marx is unheard-of in Nietzsche’s time despite the very close world they lived in as though neighbors, and also despite the growing influence of socialism in Nietzsche’s time. Nietzsche openly utters his strong disgust to the German National Socialist (...) Party which was later commonly referred as the Nazis. In this connection, he never mentioned the name of Marx as though it did not exist in his vocabulary. Although at first glance, they appear similar in the sense that both of them revolted against morality and religion, and made a distinction of society into opposing classes. But, in truth, they are worlds apart. They lived on two opposite worlds. Nietzsche is from the start an antipode of Marx. Aside from presenting a clear contrast of these two thinkers, here I also come up with a Nietzschean critique on the Marxian thought. (shrink)

This essay examines Nietzsche’s musical ontology and situates it within the naturalist and anti-metaphysical framework evident throughout his corpus. Nietzsche often associated this position with the figure of Dionysus, which plays a leading role in The Birth of Tragedy, his most sustained consideration of music and musical ontology. The essay returns to The Birth of Tragedy in an effort to recover Nietzsche’s musical ontology and its relationship with ontology more generally. Heeding Nietzsche’s own remarks, I read this text in light (...) of his mature philosophy. My analysis draws on the work of the late twentieth-century Nietzschean, Gilles Deleuze, whose distinction between “the virtual” and “the actual” enables us to see what is really at issue in The Birth of Tragedy. (shrink)