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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.
This influential book was the first comprehensive study of Nietzsche's earliest work, The Birth of Tragedy (1872).
Robert R. Williams offers a bold new account of divergences and convergences in the work of Hegel and Nietzsche. He explores four themes - the philosophy of tragedy; recognition and community; critique of Kant; and the death of God - and explicates both thinkers' critiques of traditional theology and metaphysics.
This new edition of Nietzsche's discussion of the nature of art, science, and religion, expounds on the origins of Greek tragedy and its relevance to the German culture of its time. The book's argument raises important questions about the problematic nature of cultural origins, which are still valid today.
This classic work of creative criticism from German philosopher Friedrich Nietzsche argues that ancient Greek drama represents the highest form of art ever produced. In the first section of the book, Nietzsche presents an in-depth analysis of Athenian tragedy and its many merits. In the second section, Nietzsche contrasts the refinement of classical tragedy with what he regards as the cultural wasteland of the nineteenth-century.
Boldly contesting recent scholarship, Sallis argues that The Birth of Tragedy is a rethinking of art at the limit of metaphysics. His close reading focuses on the complexity of the Apollinian/Dionysian dyad and on the crossing of these basic art impulses in tragedy. "Sallis effectively calls into question some commonly accepted and simplistic ideas about Nietzsche's early thinking and its debt to Schopenhauer, and proposes alternatives that are worth considering."—Richard Schacht, Times Literary Supplement
Nietzsche's love affair with the theater was among the most profound and prolonged intellectual engagements of his life, but his transformational role in the history of the modern stage has yet to be explored. In this pathbreaking account, David Kornhaber vividly shows how Nietzsche reimagined the theatrical event as a site of philosophical invention that is at once ancestor, antagonist, and handmaiden to the discipline of philosophy itself. August Strindberg, George Bernard Shaw, and Eugene O'Neill— seminal figures in the modern drama's evolution and avowed Nietzscheans all—came away from their encounters with Nietzsche's writings with an impassioned belief in the philosophical potential of the live theatrical event, coupled with a reestimation of the dramatist's power to shape that event in collaboration with the actor. In these playwrights' reactions to and adaptations of Nietzsche's radical rethinking of the stage lay the beginnings of a new direction in modern theater and dramatic literature.
A critical re-examination of the views of Plato, Aristotle, Hegel and Nietzsche on tragedy. Ancient Greek tragedy is revealed as surprisingly modern and experimental, while such concepts as mimesis, catharsis, hubris and the tragic collision are discussed from different perspectives.