By Douglas Burnham
This can be an creation to 1 of Nietzsche's most vital works - a key textual content in nineteenth-century philosophy. Friedrich Nietzsche was once arguably an important and influential philosopher of the 19th century. "The start of Tragedy", his first released paintings, is a vintage textual content that continues to be a vital learn for these looking to comprehend the improvement of Nietzsche's rules. certainly, it really is tough to make feel of Nietzsche as a thinker and author with out a thorough realizing of "The delivery of Tragedy", surely one in all his so much influential texts. "Nietzsche's 'The start of Tragedy': A Reader's consultant" deals a concise and obtainable creation to this highly very important and but difficult paintings. Written particularly to fulfill the wishes of scholars coming to Nietzsche for the 1st time, the booklet bargains counsel on: philosophical and old context; key issues; examining the textual content; reception and impact; and, extra analyzing. "Continuum Reader's publications" are transparent, concise and obtainable introductions to key texts in literature and philosophy. each one publication explores the topics, context, feedback and impact of key works, delivering a realistic advent to shut examining, guiding scholars in the direction of an intensive knowing of the textual content. they supply a vital, updated source, excellent for undergraduate scholars.
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Extra resources for Nietzsche's 'The Birth of Tragedy': A Reader's Guide
Sample text
45 Section 1 ends with the odd combination of pagan allusions from all ages, Judeo-Christian language (covenant, gospel), and references to Schiller and Beethoven. (Note for further reference that Beethoven’s Ninth Symphony gets a special mention, because this is not a ‘pure’ symphony. ) This mishmash of references is deliberate, of course, as Nietzsche is telling us that the Dionysiac drive is universal, to be found underlying all discrete cultures and celebrated in a barely disguised fashion in art.
42 Plato argues that all art is based upon illusion, for art generates images of things which, with respect to the true reality of the ideas, are already mere images. These illusory images are dangerous, insofar as they tempt us further away from truth rather than bringing us closer to it. Nietzsche will argue for a different metaphysical truth to Plato, to be sure, but agrees at least with the narrow point, which is that there is something wrong in taking the image as if it were fundamental or true being.
There are playful references to sex, to the sexes, and to the ‘battle’ of the sexes, throughout this book. Later in his career, for example in Thus Spoke Zarathustra, Nietzsche thematizes these much more clearly, developing an elaborate symbolic vocabulary of sex and gender. There are numerous passages in Nietzsche’s work where gender roles are allocated to make a philosophical point; that is not in doubt. 27 The question is whether the roles are allocated in meaningful ways and what philosophical enquiry gains thereby.