Download Free Nietzsche And Wagner Book in PDF and EPUB Free Download. You can read online Nietzsche And Wagner and write the review.

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
"This is the second and final volume of Tim Hilton's life of John Ruskin, one of the greatest writers and thinkers of the nineteenth century. Ruskin was the most prolific English writer there has ever been. His published works alone number some 250 titles and this is besides lectures, diaries, correspondence and tens of thousands of letters that remain unpublished. This is the first biography of Ruskin to return to the original source material, some of which has been read for the first time by the author." "It begins in 1859 with Ruskin, famous as the author of Modern Painters, The Seven Lamps of Architecture and The Stones of Venice, living in south London with his parents, his disastrous marriage over, continuing to write and travel and to tutor, amongst other pupils, Rose La Touche, a girl of ten, with whom he slowly fell in love. This relationship would develop into one of the saddest love affairs of literary history ending in tragedy in 1875, and from which Ruskin would never recover." "From 1875 onwards Ruskin was plagued by bouts of insanity and despair that would lead to total breakdown for the last ten years of his life, but, as Hilton shows, the later years, far from being a period merely of decline, were a time when the great man's intellect and imagination reached new heights. It was in these years that Ruskin produced Praeterita and most of Fors Clavigera the series of monthly letters to British workers which Hilton discusses in the context of the writer's life." "As Slade Professor of Art at the University of Oxford he founded his drawing schools, today the Ruskin School of Art. His books and lectures were on subjects ranging from history of art to social reform to botany."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
He also explores Nietzsche's listening habits, his playing and style of composition, and his many contacts in the musical world, including his controversial and contentious relationship with Richard Wagner. For Nietzsche, music gave access to a realm of wisdom that transcended thought. Music was Nietzsche's great solace; in his last years, it was his refuge from madness."--Jacket.
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.