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Born in 1844, Friedrich Nietzsche died in Weimar on 25 August 1900. Arguably the most important philosopher of the 19th century, his earliest reputation was as much for his poetry as for his philosophical writings. He began writing poetry as a boy and continued, in a wide range of styles, throughout his life. In its completed form, Dithyrambs of Dionysus' was his last book. The nine poems of this cycle were composed during 1883-8 and assembled for publication shortly before his breakdown in 1889. They represent the ultimate visionary poetic style which he developed in the years after Thus Spake Zarathustra' and form a coda to his life's work. RJ Hollingdale has translated eleven of Nietzsche's books and works by, among others, Schopenhauer, Goethe, ETA Hoffman and Theodor Fontane. Among his recent publications are a revised version of Nietzsche: The Man and His Philosophy' and a new edition of Lichtenberg's Waste-Books'.
"Dionysus Dithyrambs" is a collection of poems that celebrate the Dionysian aspect of life. The Dithyramb is an ancient Greek choral hymn dedicated to the god Dionysus, and Nietzsche uses this form to express his philosophical ideas in a lyrical manner. This Dionysian-Apollonian dichotomy is central to his theories on Aesthetics. This collection of poems is philosophy cloaked in the mantle of poetic expression, often intertwining his thoughts with the mythic persona of Zarathustra- a figure he pours all of his concepts of the ideal man into. The dithyrambs are characterized by their rhythmic intensity and vibrancy, reflecting the chaotic nature of raw Dionysian art. Nietzsche uses poetic language to dissect themes of truth, wisdom, and existence as he navigates the stormy seas of philosophical thought. Nietzsche emphasizes the role of all forms of art- Music, theater and poetry, as critical to dulling the pain of material existence. These poems are deeply influenced by the figure of Dionysus, the Greek god of wine, ecstasy, and creative chaos, embodying Nietzsche's ideals of life affirmation, artistic creativity, and the transcendence of conventional morality. The dithyrambs, traditionally a form of ancient Greek hymn sung in honor of Dionysus, are reimagined by Nietzsche to express his vision of a liberated, Dionysian spirit that revels in the dynamic and often tumultuous nature of existence. Dionysus Dithyrambs was published posthumously by his estate in 1891. The text was first published in 1891 as part of "Nietzsche's Works, Volume I" by C.G. Naumann in Leipzig, Germany. The collection was edited by Nietzsche's sister, Elisabeth Förster-Nietzsche, who was instrumental in curating and publishing his remaining manuscripts and notes after his death in 1900. This new translation from the original German, Latin and Greek manuscript contains a new Afterword by the translator, a timeline of Nietzsche's life and works, an index with descriptions of his core concepts and summaries of his complete body of works. This translation is designed to allow the armchair philosopher to engage deeply with Nietzsche's works without having to be a full-time Academic. The language is modern and clean, with simplified sentence structures and diction to make Nietzsche's complex language and arguments as accessible as possible. This Reader's Edition also contains extra material that amplifies the manuscript with autobiographical, historical and linguistic context. This provides the reader a holistic view of this very enigmatic philosopher as both an introduction and an exploration of Nietzsche's works; from his general understanding of his philosophic project to an exploration of the depths of his metaphysics and unique contributions. This edition contains: • An Afterword by the Translator on the history, impact and intellectual legacy of Nietzsche • Translation notes on the original German, Latin and Greek manuscript • An index of Philosophical concepts used by Nietzsche with a focus on Existentialism and Phenomenology • A chronological list of Nietzsche's entire body of works • A detailed timeline of Nietzsche's life and works
This book explores the possibility that Friedrich Nietzsche simulated his madness as a form of "voluntary death," and thus that his madness functioned as the symbolic culmination of his philosophy. The book weaves together scholarly, mytho-poetic, literary critical, biographical, and dramatic genres not only to explore specifics of Nietzsche's "madness," but to question the "reason/madness" opposition in nineteenth and twentieth century thinking. A rational and scholarly study of this period of Nietzsche's "breakdown"--presented through his writings, letters, and poetry in combination with relevant historical documents and other critics' writings--is simultaneously disrupted and questioned by several non-traditional discourses or voices that break in on it. Thus, Ariadne's voice frames and unframes the research context and plays alongside it. Ariadne's voice is poetic, revelatory, rhapsodic, and prophetic, sounding much like Nietzsche's own voice during his "breakdown." Ariadne's discourse attempts to seduce through a non-rational, mytho-poetic love story which culminates in the wedding of Dionysus and Ariadne. Other non-rational discourses, critically developed and based upon the work of Nietzsche, Jean Baudrillard, and Gilles Deleuze, are given voice and work together with Ariadne to counter the usual interpretations of Nietzsche's "madness" and of what "mad" discourse is. These discourses are given the names "catastrophe," "phantasm," and "seduction." The experiment of the book is not only to offer an entirely different perspective on Nietzche's "madness" but to offer and perform new and challenging forms of affirmative discourse.
This book traces the image of the pregnant male as it evolves in classical Greek literature. Originating as a representation of paternity and, by extension, "authorship" of creative works, the image later comes to function also as a means to explore the boundary between the sexes.
Nietzsche's philosophy - at once revolutionary, erudite and deep - reaches into all spheres of the arts. Well into a second century of influence, the profundity of his ideas and the complexity of his writings still determine Nietzsche's power to engage his readers. His first book, "The Birth of Tragedy", presents us with a lively inquiry into the existential meaning of Greek tragedy. We are confronted with the idea that the awful truth of our existence can be revealed through tragic art, whereby our relationship to the world transfigures from pessimistic despair into sublime elation and affirmation. It is a landmark text in his oeuvre and remains an important book both for newcomers to Nietzsche and those wishing to enrich their appreciation of his mature writings. "Nietzsche and The Birth of Tragedy" provides a clear account of the text and explores the philosophical, literary and historical influences bearing upon it. Each chapter examines part of the text, explaining the ideas presented and assessing relevant scholarly points of interpretation. The book will be an invaluable guide to readers in Philosophy, Literary Studies and Classics coming to "The Birth of Tragedy" for the first time.
NEW YORK TIMES Editors’ Choice • THE TIMES BIOGRAPHY OF THE YEAR • WINNER OF THE HAWTHORNDEN PRIZE A groundbreaking new biography of philosophy’s greatest iconoclast Friedrich Nietzsche is one of the most enigmatic figures in philosophy, and his concepts—the Übermensch, the will to power, slave morality—have fundamentally reshaped our understanding of the human condition. But what do most people really know of Nietzsche—beyond the mustache, the scowl, and the lingering association with nihilism and fascism? Where do we place a thinker who was equally beloved by Albert Camus, Ayn Rand, Martin Buber, and Adolf Hitler? Nietzsche wrote that all philosophy is autobiographical, and in this vividly compelling, myth-shattering biography, Sue Prideaux brings readers into the world of this brilliant, eccentric, and deeply troubled man, illuminating the events and people that shaped his life and work. From his placid, devoutly Christian upbringing—overshadowed by the mysterious death of his father—through his teaching career, lonely philosophizing on high mountains, and heart-breaking descent into madness, Prideaux documents Nietzsche’s intellectual and emotional life with a novelist’s insight and sensitivity. She also produces unforgettable portraits of the people who were most important to him, including Richard and Cosima Wagner, Lou Salomé, the femme fatale who broke his heart; and his sister Elizabeth, a rabid German nationalist and anti-Semite who manipulated his texts and turned the Nietzsche archive into a destination for Nazi ideologues. I Am Dynamite! is the essential biography for anyone seeking to understand history's most misunderstood philosopher.
Before the world knew of the thinker who “philosophizes with a hammer,” there was a young, passionate thinker who was captivated by the two forces found within Greek art: Dionysus and Apollo. In this essay, which was the forerunner to his groundbreaking book The Birth of Tragedy, The Dionysian Vision of the World provides an unparalleled look into the philosophical mind of one of Europe’s greatest and provocative intellects at the beginning of his philosophical interrogation on the subject of art. “While dreaming is the game man plays with reality as an individual, the visual artist (in the larger sense) plays a game with dreaming.” This is the Dionysian vision of the world.
This book argues that The Birth of Tragedy, Nietzsche's first book, does not mark a rupture with his prior philosophical undertakings but is, in fact, continuous with them and with his later writings as well. It shows that many of the book's elements are reminiscent of Nietzsche's earlier revisions of philology and anticipate the later writings.
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