The present paper discusses the statute of Socrates’ image in The birth of tragedy. From the hypothesis that it is unsatisfactory to treat Socrates only as Nietzsche’s antipode, as supported by a large number of interpreters, I develop the thesis according to which Socrates is a kind of magnifying glass, by means of which the philosopher analyses the beginning and the modern unfolding of western culture. Besides, and mainly, I demonstrate that the richness of antagonisms deliberately used by Nietzsche to (...) analyze Socrates’ images indicates the one of his first conceptions of the philosophical creation itself. (shrink)

Nietzsche has repeatedly commented on his already published works, and thus continuously reinterpreted them, in order to shape their public reception and to foreground the communication of specific aspects of his works. As such, he followed a specific “work politics,” or Werkpolitik. The resulting retractions are not only revealing for the reconstruction of Nietzsche’s self-understanding, but also demonstrate both the development and the dynamic character of his thinking. In the present article, this is shown through a so-called “contrasting reading,” which (...) contrasts a posthumous note about The Birth of Tragedy, the Attempt at a Self-Criticism from 1886, with the book itself and with the chapter in Ecce Homo that is dedicated to BT. Starting from a close reading of note Nachlass 1888, 17[3], which also takes into account the genesis of BT, I argue that Nietzsche’s self-commentaries combine his current philosophical reflections with work-political objectives. The subsequent comparison reconstructs the philosophical differences between the note and the texts mentioned above, thus demonstrating the dynamic character of Nietzsche’s philosophizing, which is often stated but seldom reconstructed on the basis of the actual texts. (shrink)

El artículo se aproxima al estatuto de Shakespeare en el pensamiento de Nietzsche a partir de tres calas en su obra. En primer lugar, se ofrecen algunas claves sobre la interpretación dionisíaca de Hamlet en _El nacimiento de la tragedia_ desde su contraste con la recepción previa de Shakespeare y el príncipe danés en el espacio cultural alemán. En segundo lugar, se abordará el tránsito nietzscheano de madurez hacia otras temáticas y motivos del universo shakespeariano, desembocando tanto en la figura (...) de Bruto en _Julio César_ como en la del propio personaje llamado “Shakespeare”. Por último, a modo de epílogo, se problematizará el encuentro final de estos espectros shakespearianos, tal como se escenificará en _Ecce homo_. (shrink)