Arte como necessidade da existência na filosofia de Nietzsche.

• Ano de defesa: 2011
• Autor(a) principal: Herculano, Josimar Rodrigues
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraí­ba; BR; Filosofia; Programa de Pós-Graduação em Filosofia; UFPB
• Palavras-chave em Português: Arte; Existência; Mito grego; Criação; Vontade; Art; Existence; Greek myth; Creation; Will; CIENCIAS HUMANAS::FILOSOFIA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/tede/5603

The art that in Nietzsche s philosophy goes through all his lifetime and beyond that stretches for all posterity, is in this paper approached as being, according to philosophical thinking, the highest of the existential forms. In a consequent way, this leads to the understanding and acknowledgement that art is, in all the forms that it can be expressed by its muses - and especially for Nietzsche regarding tragic art in ancient Greece -, much more than what it seems to be, that is, inversely, the very existence manifests itself, necessarily, through art, therefore it is impossible to think of each one in an unconnected manner. More than a simple connection,existence, that is, life and art in a Nietzschean sense, in other words, creation, appear as all the crystalized forms of that that has no absolute shape or as Nietzsche described them according to his interpretation of the myths of Dionysus and Apollo. The first as being the representation of the misshapen and the hollow, that is, of the chaos and the abyssal darkness; the latter, on the other hand, as being the one that represents the rising of the being that, from the abyssal darkness, appears on the surface of existence usually and through the perception of the beautiful forms, but also through the opposing perception of the ugliness that, however, even the latter when expressed aesthetically through artistic inebriation both Dionysian and Apollonian, only occur due to its subordination to the natural artistic creation of both forms, beautiful and ugly, that is, through a soothing pathos, in other words, resisting against the unavoidable Nietzschean will to be in any way that it becomes, and all that, beyond good and evil.