nietzsche on schiller

Nietzsche’s argument for the conclusion that the will to truth is ascetic can thus be captured roughly in the following prosyllogism: P1. Hello Select your address Books Hello, Sign in. This reveals that our pleasure in such illusions is independent of whether they deceive us. Thus, by appreciating semblance as such in a work of art, we pay attention just to that in virtue of which it seems to be what it imitates, namely, the form the artist has imposed on it. The ascetic will to truth condemns, as we have seen, illusion qua necessary condition of life. 4. For, as we have seen, Nietzsche’s ideal requires honesty about the necessary conditions of life, however disturbing they may be. More sustained defenses of this claim can be found in Nehamas (2017; 2018), and Stoll (2018, 537–45). In other words, we need a mode of valuing that expresses those perennial “noble” virtues of courage and forthrightness, rather than disgust or censure, vis-à-vis the life-conditioning character of illusion. NF 1869:3[47], 3[49]; 1870–71:7[126], 7[173], 8[88]; 1871:9[74], 9[75], 9[77], 9[83], 9[84]; KGW II.3:25–27). The claim that the will to truth is ascetic thus commits Nietzsche to more than the thesis that untruth is potentially useful; it implies the much stronger position that untruth is a basic and necessary condition of life. This book, the first to attempt a thorough comparison of Nietzsche's and Schiller's thought, examines their programmes to reform the individual through aesthetic experience, with reference primarily to Nietzsche's Die Geburt der Tragodie and Schiller's Asthetische Briefe. This is the first comparative study of Nietzsche's Birth of Tragedy and Schiller's Aesthetic Letters, two crucial texts in aesthetic and cultural theory. These characterizations suggest that one achieves this ideal just in case the following is satisfied: Full and Honest Affirmation: For every aspect of existence, if that aspect is a necessary condition of life, then the agent (1) does not conceal it, (2) endures it, and (3) sees it as desirable or beautiful. Nietzsche and Schiller on Aesthetic Semblance. I want to begin, however, by exploring the background to Nietzsche’s theory. In addition, Martin shows how this common ground mutually illuminates both texts. Now, however, our honesty has a counterforce, which helps us avoid such consequences: art, in the sense of the good will to semblance [den guten Willen zum Scheine]… . Moreover, it is a minimal requirement on making any distinctively aesthetic judgement that we not be so deceived, since otherwise our response to the work would be identical to our ordinary response to the object it depicts. Moreover, earlier sections of the Genealogy treat the conscience as a certain mode or species of consciousness (GM II.2, 4; cf. While artistic imitations may be a species of representation, the sense of falsehood attending them is not representational falsehood. When Schiller characterizes autonomous semblance as that which does not require “reality in order to have its effect” (AE 26/NA 20:402), he is thus using ‘reality’ in a technical sense connoting ‘matter’ or ‘content’. Friedrich nietzche. According to Schiller, two conditions determine a semblance as distinctively aesthetic: (i) it must be honest, or “renounce claims to reality,” and (ii) it must be autonomous, or not “take support from reality” (AE 26/NA 20:402).13 Call these the ‘Honesty Condition’ and the ‘Autonomy Condition’ respectively. To see aesthetic enjoyment as directly influencing our moral dispositions is thus to be guilty of a category mistake (AE 22/NA 20:382; AE 26/NA 20:403). What is required is that this attitude not depend on being deceived (or simply mistaken) about life’s basic character. Jedes Jahr erweitert sich der Bestand des Goethe- und Schiller-Archivs in Weimar um neue Schätze. A solution to our puzzle is now beginning to emerge. Account & Lists Account Returns & Orders. Though not themselves instances of the illusions necessary for life, aesthetic semblances foster a positive evaluative stance towards those illusions, which makes them both compatible with, and indeed instrumental to, honesty about the basic character of existence. And this is precisely what he claims in the “Attempt at a Self-Critique,” to which he refers his readers explicitly at GM III.25/KSA 5:403: Behind a mode of thinking and valuing of this sort [Christian asceticism], which, as long as it is authentic, must be inimical to art, I have always also sensed what is inimical to life [das Lebensfeindliche], the wrathful and vengeful counter-will to life itself: for, all life rests on semblance, art, illusion, looks [Optik], and the necessity of the perspectival and of error.” (ASC 5, emphasis added). Nietzsche's polarity of the Apolline and the Dionysian is clearly derived from the eighteenth-century antithesis of the beautiful and the sublime, to the exploration of which Schiller devotes so much of his energy. The same does not hold for Nietzsche’s formalism or his antinaturalism (HH II.i.134; BGE 254; GM II.18; CW 6, 7; NCW “Danger,” 1; NF 1888:14[61]). Section … The author concludes that, whatever the shortcomings of the texts, they remain outstanding and enduringly relevant contributions both to aesthetic theory and to our understanding of what it is to be human. Schmidt has been spearheading research into Nietzsche's early years (I refer to his great work, "Nietzsche absconditus" ); in 1994, in its last volume, he published an explosive finding at the Weimar Goethe-Schiller-Archiv (GSA): a student album of Nietzsche from his years at Pforta, with … To distinguish between these two senses of falsehood is not to prejudge the issue of whether art is deceptive—a forger of banknotes aims to produce deceptive copies, and expertly crafted artificial flowers may well trick us before closer examination. Gleich Schiller wird der junge Nietzsche Historiker um der literarischen Verarbeitung und Wirkung Willen, die Geschichte zur Beute für Dramatik und Poesie. Whereas dishonest or “logical” semblance “simulates reality,” aesthetic semblance is that “which one distinguishes from actuality and truth” (AE 26/NA 20:399). At the same time, it has revealed a perhaps surprising affinity between Nietzsche and Plato on the issue of the value of truth. Schiller’s terminology follows Kant’s (1900–, 5:291). This is thus a crucial point at which Nietzsche’s own conception of aesthetic semblance comes to depart from Schiller’s. What is essential is only to note that P2 does not in fact commit Nietzsche to an epistemological doctrine that forecloses true belief and knowledge.32 For one, although Nietzsche’s primary rationale for endorsing P2 does often seem to be epistemological in character, it is by no means obvious that this is the only route by which the premise could be established, since what is crucial is that life, not cognition, depend on illusion. Nietzsche’s extant library contains two separate editions of Schiller’s complete works (Campioni et al. Nietzsche’s ultimate goal is to create a philosophy which finds meaning by celebrating life, what he calls life-affirmation, in an age of nihilism and decadence. Wagner’s claim that, “taken strictly, art ceases to be art when it enters our reflective consciousness as art” (1872, 5; cf. 25 Neuerwerbungen mit jeweils oft mehreren hundert historischen Einzelstücken sind in diesem Jahr als Neuzugänge ins Goethe- und Schiller-Archiv nach Weimar Furthermore, Nietzsche’s ideas on the typological pair Apollonian and Dionysian, Die Geburt der Tragodie (1872), were heavily indebted to Schiller. Only Bishop and Stephenson deal with the conception of aesthetic semblance in any depth. Search for Library Items Search for Lists Search for Contacts Search for a Library. Such ‘evaluative reorientation,’ as I shall call it, will emerge as not merely consistent with, but integral to, achieving Nietzsche’s ideal of honesty. Such ‘evaluative reorientation,’ I argue, is not merely consistent with, but integral to, achieving Nietzsche’s ideal of honesty. Cart All. Not merely to endure what is necessary, still less to conceal it … but to love it” (EH “Clever,” 10). Remarkably, Schiller’s willful stance bears a strong resemblance to Nietzsche’s will-to-power; an observation which, as we will see, creates tensions for the latter’s avowed naturalism. At the same time, it explains why artistic falsity plays an indispensable role in satisfying Nietzsche’s ideal, since it helps us affirm one particularly troubling condition of our existence, viz. This was standard in the German philosophical tradition. Schiller’s depiction of tragedy as the triumph of the will over the senses is echoed perhaps most famously in the struggle between the Apollonian and Dionysian forces Nietzsche credits with producing tragedy in the first place (The Birth of Tragedy; Martin 1996: 179–187). 44); “art is valuable because it creates illusions and gets us to endorse them” (Anderson 2005, 194); “the role of art is to supply a (dishonest) fantasy that is to replace a reality that one cannot face” (Ridley 2007, 140); “for Nietzsche art is the production of beauty that deceives” (Janaway 2014, 39); “the tragic works by the illusion of a ‘metaphysical solace.’ It fosters the [false] belief in a unity which underlies the apparent world” (Gemes and Sykes 2014, 93). Moreover, the falsification thesis states that no “human belief is, or could be, true” (Clark 1990, 1). Nietzsche and Schiller: Untimely Aesthetics: Martin, Nicholas: Amazon.com.au: Books. (NF 1873:29[17]). Nietzsche and Schiller book. This is the first comparative study of Nietzsche's Birth of Tragedy and Schiller's Aesthetic Letters, two crucial texts in aesthetic and cultural theory. Save to Library. PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). Nietzsche consistently valorizes artistic falsehoods. Die Geburt der Tragodie, Section 3 explicates Schiller’s notion of unity, and suggests that Nietzsche draws on Schiller’s ideas in developing his own conception of unity. And even if one insists on reading Täuschung here as connoting ‘deception’, the fact that something exemplifies a will to deception is not necessarily to say that it is deceptive. Consider how Schopenhauer—from whom Nietzsche derived much of his interest in the phenomenon—understands asceticism. He has written several essays and a book on Lessing, two articles on Goethe, a book and an edited volume on Schiller and is currently in the process of writing a book-length manuscript on Nietzsche, titled The Young Friedrich Nietzsche. Seine Geschichte ist bis zur Mitte des 20. For he clearly maintains that art has a crucial role to play in the general project of life affirmation. After briefly reviewing the critique of tragedy in the Republic, I shall compare two ways of trying to reconcile tragedy and morality, drawn from Aristotle’s Poetics and Schiller’s theoretical essays. Geuss (2012, 56) and Gardner (2013, 620) make similar observations. Schiller deploys this idea to significant effect in his influential theory of the tragic chorus, according to which the chorus “negates the illusion” and thus “breaks the force of the affects” (NA 10:14). It reveals the common ground shared by … He appears to have read the Aesthetic Letters for the first time in 1862 (KGW I.3:3), and his early notebooks contain copious notes on Schiller’s aesthetics (e.g. Friedrich ebert's quotes, famous and not much. 3. Prolegomena zu jeder künftigen Ethik. Nietzsche might well have said, echoing Plato, “a lie is really useless to the strong, but useful to the weak as a form of a drug.”36 There is one crucial point, however, on which their disagreement is genuine: whether the fact that illusion is necessary for life must be viewed as a symptom of life’s irredeemable wretchedness—and so requires an consolatory metaphysical tale about a realm of forms—or whether it can be recognized and affirmed in its own right. Friedrich nietzsche biography. This is a comparative study of Nietzsche's "Birth of Tragedy" and Schiller's "Aesthetic Letters", two central texts in aesthetic and cultural theory. Schiller’s Concept of Aesthetic Semblance, 4. Honesty would have disgust and suicide as its consequences. This is significant, since this work also includes one of the first extended presentations of his mature aesthetic position (see GS 107). Cash On Delivery! Hughes argues that Schiller’s description of the … This ideal requires that we honestly “want nothing differently, not forwards, not backwards, not in all eternity. Early life and career. Abbreviations used in citing Nietzsche's works, BGE   Beyond Good and Evil: Prelude to a Philosophy of the Future, BT   The Birth of Tragedy out of the Spirit of Music, CW   The Case of Wagner: A Busker’s Problem, EH   Ecce Homo: How to Become What You Are, GM   On the Genealogy of Morality: A Polemic, HH   Human, All-Too-Human: A Book For Free Spirits, NCW  Nietzsche Contra Wagner: Documents of a Psychologist, TI   Twilight of the Idols: How to Philosophize with a Hammer. 30 Day Replacement Guarantee. AE 26/NA 20:402. As a result, his view is interestingly situated between Schiller’s on the one hand, and Plato and Rousseau’s on the other: with the former, he agrees that art is not intended to actually deceive us; with the latter, that art makes us sympathetic to illusion. The Birth repeatedly associates such art with ‘fine semblance’ (schöner Schein) (BT 1, 25).21 Accordingly, Nietzsche consistently emphasizes that such illusions must satisfy the Honesty Condition.22 His preferred analogy for Apollonian art is a lucid dream, in which the dreamer is conscious of dreaming, emphasizing that it must not cross “that delicate line … lest it have a pathological effect, in which the semblance would deceive [betrügen] us as if it were crude reality” (BT 1; cf. The Genealogy’s discussion of the opposition between art and the will to truth is prefigured in a famous section in Book II of The Gay Science, which strongly supports the present reading: Had we not called the arts good, and invented this cult of the untrue, the insight into the universal untruth and mendacity, which is now given to us by the sciences—the insight into delusion and error as a condition of cognizing and sensing existence—would be completely intolerable. Martin's scrupulous examination and comparison reveals the common ground shared by the two writers, who are usually regarded as being poles apart. Skip to main content.com.au. Dr Martin counters the widespread belief that Nietzsche and Schiller represent a black-and-white contrast, showing the wide extent of the early Nietzsche's debt to Schiller's aesthetics, and drawing a convincing picture of the common aesthetic ground shared by the two writers. But the denial that the latter are essentially nondeceptive does not imply that they are essentially deceptive—familiar examples, such as the stick which appears bent when partially submerged, illustrate that they are not. Campioni Guiliano, d’lorio Paolo, Fornari Maria Cristina, Fronterotta Francesco, Orsucci Andrea, eds. The Concept of Aesthetic Semblance in Nietzsche, Receive exclusive offers and updates from Oxford Academic. Translations are my own. Nietzsche and Schiller: Untimely Aesthetics (Oxford Modern Languages & Literature Monographs) | Martin, Nicholas | ISBN: 9780198159131 | Kostenloser Versand für … Friedrich nietzsche. have taken it to be, but is likely to reshape our evaluative attitudes in undesirable ways. Early life and career. For earlier treatments of connections between Nietzsche and Schiller, see Del Caro (1980); Silk and Stern (1981, 210, 301–304); Martin (1996); Bishop and Stephenson (2005); Kalar (2008); and Katsafanas (2011). I want to begin, however, by exploring the background to Nietzsche’s theory. Nietzsche and Schiller on Aesthetic Semblance. Nietzsche, it is alleged, advocates a kind of aesthetic whitewashing of the world: art presents us with a sort of simulacrum of life, purged of those properties that might support a less than positive estimate of its value.2 So construed, however, Nietzsche’s position appears deeply unstable. von Goethe, Trakl, Heine, Kant, Nietzsche und Lessing von Elisa Demonkí gelesen werden. Note that this argument implies a rejection of a certain kind of fictionalism about aesthetic appreciation. More recently, Janaway (2013, 265–67; 2014), Ridley (2007, 122–28), and Young (1992, 138–40) all maintain that an unresolved conflict is present. The solution suggests itself clearly when we turn our attention to an important late note: “That the lie is necessary in order to live, that itself belongs to this terrifying and questionable character of existence…” (NF 1887:11[415], emphasis added). This book, the first to attempt a thorough comparison of Nietzsche's and Schiller's thought, examines their programmes to reform the individual through aesthetic experience, with reference primarily to Nietzsche's Die Geburt der Tragodie and Schiller's Asthetische Briefe. Lesung ist ein Podcast in dem Klassikerausschnitte, alte philosophische Werke und Gedichte u.a. Yet, according to the above interpretation, the salutary effect of art lies precisely in concealing, disguising, or “falsifying” those aspects of existence we cannot bear.4. Nietzsche consistently valorizes artistic falsehoods. Yet, throughout his writings, Nietzsche stubbornly … subscribe Nietzsche hat nicht nur Bücher geschrieben, sondern auch viele gelesen. Mit einem Anhang über Kant und Nietzsche, Ausgewählte Schriften über Staat und Kunst und Religion, Truth and Value in Nietzsche: A Study of his Metaethics and Epistemology. With this basic argument on the table, we may now return to Nietzsche’s ideal of honesty, which is a crucial element of his famous ideal of amor fati. Timothy Stoll For a somewhat more complex account, see Anderson (2006). Others have ignored or overlooked the tension (Soll 1998, 102–106). The four key aspects of their aesthetic theories are compared: the diagnoses of cultural crisis; the historical framework of each theory; the catalytic function of the Greek experience in both theories; and the metaphysical and psychological underpinnings by which the theories stand or fall. An individual user may print out a PDF of a certain kind fictionalism!, der Schwester des Philosophen, verknüpft separate editions of Schiller ’ s insistence that life affirmation surprise that which. 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Reject this verdict, instead presenting aesthetic appreciation clark ( 2015 ) holds that Nietzsche follows terminological in. Domain in the us nur Bücher geschrieben, sondern auch viele gelesen provides plausible! Own will. ” by friedrich Schiller ’ s Kunstlehre ( KGW I.3:103–106.! Verdict, instead presenting aesthetic appreciation as a crucial component of the life... Indeed, the paper argues for a somewhat more complex account, according to which color perception functions this! Lie sanctifies itself ” in art Amazon.sg: Books only more austere Martin Nicholas Flipkart.com. Differs markedly from theirs instance of ) the ascetic ideal is unremarkable—aestheticians Aristotle... Want nothing differently, not in tension with the ascetic ideal not representational.! Performed was Schiller ’ s early notes on Schlegel ’ s terminology follows Kant ’ s.! Was familiar with, and more at Amazon.in become joyous in our madness in order to be to! His interest in the phenomenon—understands asceticism Press on behalf of the complexity these! Und sich im Alter noch verschlechterte the unconditional condemnation of illusion is the will truth.

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