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The author reads Goethe's Faust as the first epic written under Spinoza's influence. He shows how its thematic development is governed by Spinoza's pantheistic naturalism. He further contends that Wagner and Nietzsche have tried to surpass their mentor Goethe's work by writing their own Spinozan epics of love and power in The Ring of the Nibelung and Thus Spoke Zarathustra. These Spinozan epics are designed to succeed the Christian epics in the Western literary tradition. Whereas the Christian epics dared to groom human beings for their destiny in the supernatural world, the Spinozan epics try to reinstate humanity as the children of Mother Nature and overcome their alienation from the natural world, which had been dictated by the long reign of Christianity. However, it has been well noted that none of these new epics seems to hang together thematically as a coherent work. By his Spinozan reading, the author not only demonstrates the thematic unity of each of them singly, but further illustrates their thematic relation with each other.
Provides comprehensive and up-to-date coverage of Nietzsche's philosophy, his key works and themes, his major influences and his legacy.
Beyond Reason relates Wagner's works to the philosophical and cultural ideas of his time, centering on the four music dramas he created in the second half of his career: Der Ring des Nibelungen, Tristan und Isolde, Die Meistersinger von Nürnberg, and Parsifal. Karol Berger seeks to penetrate the "secret" of large-scale form in Wagner's music dramas and to answer those critics, most prominently Nietzsche, who condemned Wagner for his putative inability to weld small expressive gestures into larger wholes. Organized by individual opera, this is essential reading for both musicologists and Wagner experts.
The first full-length critical introduction in English to Nietzsche's lifelong obsession with Wagner, and why it matters for understanding Nietzsche's philosophy as a whole
“When for the first time I saw the evening rise with its red and gray softened in the Naples sky,” Nietzsche wrote, “it was like a shiver, as though pitying myself for starting my life by being old, and the tears came to me and the feeling of having been saved at the very last second.” Few would guess it from the author of such cheery works as The Birth of Tragedy, but as Paolo D’Iorio vividly recounts in this book, Nietzsche was enraptured by the warmth and sun of southern Europe. It was in Sorrento that Nietzsche finally matured as a thinker. Nietzsche first voyaged to the south in the autumn of 1876, upon the invitation of his friend, Malwida von Meysenbug. The trip was an immediate success, reviving Nietzsche’s joyful and trusting sociability and fertilizing his creative spirit. Walking up and down the winding pathways of Sorrento and drawing on Nietzsche’s personal notebooks, D’Iorio tells the compelling story of Nietzsche’s metamorphosis beneath the Italian skies. It was here, D’Iorio shows, that Nietzsche broke intellectually with Wagner, where he decided to leave his post at Bâle, and where he drafted his first work of aphorisms, Human, All Too Human, which ushered in his mature era. A sun-soaked account of a philosopher with a notoriously overcast disposition, this book is a surprising travelogue through southern Italy and the history of philosophy alike.
The four short works in Untimely Meditations were published by Nietzsche between 1873 and 1876.They deal with such broad topics as the relationship between popular and genuine culture, strategies for cultural reform, the task of philosophy, the nature of education, and the relationship between art, science and life. They also include Nietzsche's earliest statement of his own understanding of human selfhood as a process of endlessly 'becoming who one is'. As Daniel Breazeale shows in his introduction to this new edition of R. J. Hollingdale's translation of the essays, these four early texts are key documents for understanding the development of Nietzsche's thought and clearly anticipate many of the themes of his later writings. Nietzsche himself always cherished his Untimely Meditations and believed that they provide valuable evidence of his 'becoming and self-overcoming' and constitute a 'public pledge' concerning his own distinctive task as a philosopher.