In The Birth of Tragedy, Friedrich Nietzsche argues that, through his protégé Euripides, Socrates had injected into Greek tragedy the seed of questioning doubt that brought an end to the religious animus of drama, the fire that fueled its creation and sustained it. Thus, cold reason killed tragedy. Although he would later modify this view, it remains a powerful and influential polemic in the history of aesthetics.
Given the existentialist emphasis on concrete personal experience, freedom, authenticity, responsibility, awareness of death, and personal determination of values, it is not surprising that existentialist philosophers should also consider the question of romantic love.
The films of Austrian director Michael Haneke seem to start out “normally” and then slowly descend into an abyss—but what if that abyss is in fact living authentically? Could we see Haneke’s award-winning Caché (2005) as an exemplification of Sartrean existentialism? And what are some other philosophical influences in his work?
Come get involved in the coming month with a Not School group, or propose your own!
Is “Hungernachdeutschphilosophie” a made up word? Maybe, but it works.
Something for the Ubermensch in all of us: Hobbes, Nietszche, Dennett, some Intro to Philosophy readings starting with Plato, and don’t forget the Aftershow on Hegel! Get in on Not School’s offerings for March!
Philosophical artists and artistic philosophers, however they diverge respecting doctrinal matters, often bond beneath the surface in striving to render an ideal image of the sage. Plato, Melville, and Nietzsche were like this, each of them expressing his conception of wisdom through the mask of creative philosophy. Nietzsche insisted that “Every profound spirit needs a mask.” His own uncanny literary persona was his mask, as Socrates was Plato’s, and Ishmael Melville’s. Not Ahab, but the narrator Ishmael is the authentically Nietzschean Yes-sayer of Moby-Dick. Ahab is vanquished by the God he hates, but Ishmael survives the catastrophe to become the man who narrates Ahab’s dark fate with such sparkling insight and wit.
An extended excerpt from Mark Anderson’s book—a study of Plato, Melville, and Nietzsche, framed as a philosophical commentary on Moby-Dick.
“History, in so far as it serves life, serves an unhistorical power.” –Friedrich Nietzsche
Can too much historical awareness be something that hinders rather than helps us? Nietzsche argued as much. Does his case hold up as our historical memory recedes?
Seth Paskin and Danny Lobell were joined by Dr. Gregory B. Sadler, David Buchanan, Erik Weissengruber, Tom Kirdas, Ken Presting, and Bill Coe. Recorded July 26, 2015.
What, exactly, is a Nietzsche book? His works defy easy placement. Whatever they are, they’re filled to the brim with dancing—dancing Dionysian revelers, dancing satyrs, dancing ladies and men and children of all stripe and color.
Eva Brann (from our Heraclitus episode) returns to talk with us about her 2014 book, Un-Willing: An Inquiry into the Rise of Will’s Power and an Attempt to Undo It, which gives an intellectual history of the notion of will and diagnoses a the current pernicious effect of the concept in our philosophy and culture.
Pt 3 of 3 on Nietzsche’s The Birth of Tragedy on the evils according to Nietzsche of “Socratism,” i.e. scientific optimism: Everything useful, beautiful, and good must be reasonable, fodder for scientific investigation. Why would Greek tragedy show us that this Enlightenment ideal is somehow misguided?
Attend Watch the Aftershow featuring Dr. Greg Sadler and Seth Paskin.
Pt 2 of 3 on Nietzsche’s The Birth of Tragedy. Why is ancient Greek tragedy supposed to push all of our buttons?
On Friedrich Nietzsche’s The Birth of Tragedy (1872). Nietzsche thought that you could tell how vital or decadent a civilization was by its art, and said that ancient Greek tragedy was so great because it was a perfect synthesis of something highly formal/orderly/beautiful with the intuitive/unconscious/chaotic. But then Socrates ruined everything!
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On Friedrich Nietzsche’s The Birth of Tragedy (1872), which was his first book. Nietzsche thought that you could tell how vital or decadent a civilization was by its art, and said that ancient Greek tragedy was so great because it was a perfect synthesis of something highly formal/orderly/beautiful with the intuitive/unconscious/chaotic. But then Socrates ruined everything, and it remains ruined! Can we recapture the magic? Probably not. With guest John Castro.
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End song: “Some Act” by Mark Lint and the Fake from “So Whaddaya Think?” (2000)
We discussed Friedrich Nietzsche’s first book, “The Birth of Tragedy,” about how different psycho-social strategies for dealing with the harshness of existence feed into art. This will be released in three parts on Mondays starting on 7/6, with the Aftershow on 7/26.
Hey all! Just a quick note to let you know you know that we are making available a transcript from the Gay Science episode. Special thanks to Jessica T. for her generous donation. The file was Professionally transcribed by Rev.com. Read the transcript here. Note that while we are releasing this to the hoi polloi we have Continue Reading …
In the Nietzsche episode, I made a point relating Nietzsche’s “bright side” of slave morality with Hegel’s account of the master-slave encounter. To refresh: Nietzsche’s story in the Genealogy of Morals involves the oppressed turning in on themselves for satisfaction, because they can’t get satisfaction in the usual brutish, masterful way. Nietzsche is often taken Continue Reading …