Nietzsche, filósofo artísta: a via de uma filosofia necessariamente estética no primeiro Nietzsche
| Ano de defesa: | 2022 |
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| Autor(a) principal: | |
| Orientador(a): | |
| Banca de defesa: | |
| Tipo de documento: | Dissertação |
| Tipo de acesso: | Acesso aberto |
| Idioma: | por |
| Instituição de defesa: |
Universidade Federal de Uberlândia
Brasil Programa de Pós-graduação em Filosofia |
| Programa de Pós-Graduação: |
Não Informado pela instituição
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| Departamento: |
Não Informado pela instituição
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| País: |
Não Informado pela instituição
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| Palavras-chave em Português: | |
| Link de acesso: | https://repositorio.ufu.br/handle/123456789/41001 http://doi.org/10.14393/ufu.di.2022.230 |
Resumo: | The aesthetic is the central axis of the inaugural work, and the main thought of the young Friedrich Wilhelm Nietzsche, The Birth of Tragedy, Die Geburt der Tragödie aus dem Geiste der Musik ‒ 1872). In his maturity, when the philosopher publishes the second edition of the work, Die Geburt der Tragödie, Oder: Griechentum und Pessimismus ‒ 1886, re-edited and added to the critical preface, Attempt at a Self-criticism (Versuch einer Selbstkritik), the artistic problem returns to being expressed under the question of the necessity (nöthig) of tragic art. The need for art for culture relates to another, more fundamental problem, namely, the value of existence for the Greeks. Hence the pessimism stamped in the title of the reissued edition. With the present interpretation, I wanted to penetrate the central meaning of the statement: why did the Greeks need tragedy, even more, all art? Faced with this question, thus formulated by Nietzsche at the beginning of the late preface (1886), the present work is placed as if in front of a trail, that is, it pursues something that does not immediately reveal what is sought, but is, what is sought. it yearns, what is shown, manifests itself, and therefore, what can and should be pursued in order to recognize its implications. In order to understand how the aesthetic problem operates in Nietzschean youth, I seek it together with the question that, according to the philosopher, manifests the way in which the Greeks and their art erupted for themselves, that is, I seek the fundamental meaning of a aesthetic problem, together with its genesis. Therefore, through a meta-question, so to speak, I probed the very questioning of the problem raised by the young philosopher, that is, I questioned him along with his own thinking movement, with the origin of his questioning. As it was possible to emulate the act of his philosophizing, I constantly asked what was fundamentally at stake when, in the form of a question about the need for art, the philosopher manifests that there is a problem not yet made explicit by the German tradition that focused on the Greeks and branded them as optimists; what are the true implications of the question about the purpose of art for the people, when art is seen as a necessity, as the foundation of their lives. It can be said that the fundamental meaning of Greek existence is revealed through the immanent genesis of an aesthetic-artistic problem. The issue is only clearly distinguished when we realize immediately, that is, through a sensitive experience, in our body, that art is the deepest foundation of Greek culture and existence. However, to seek the fundamental meaning, it is first necessary to give a meaning. That is, it is also necessary to know how the question is inserted in the temporal context of the elaboration of the philosopher's movement of thought. In this sense, Heidegger was here a mentor, in a flattering sense, as well as an excellent educator, echoing here, by borrowing, the meaning attributed by Nietzsche to his Schopenhauer als Erzieher. Following the example of Heidegger's lectures, “Nietzsche”, I am inspired by the methodological and phenomenological gesture of this heir of our philosopher. As the very epigone of the first volume of lectures says, in order to understand the meaning of Nietzsche's thought, it is necessary to pursue the distinction of his fundamental position in relation to the ontological question of being, it is necessary to confront him as one who confronts history of Western thought, insofar as Nietzsche achieves his consummation up to that point. Furthermore, in an attempt to understand the meaning of Nietzschean aesthetics within the broader scope of the first phase of his thinking, I analyze some Nietzschean writings from his youth, an essential point if this research also wishes, in its continuity, to think about the relevance of the aesthetic theme, engendered in the youth, which crosses the author's thinking force until the consummation of his mature philosophy. In short, this is the course of the text that I tried to outline: the first chapter deals with harassing, that is, I pursue a possible understanding of the question about the need for art, questioning it as the most fundamental will of the people, that is, I try to trace the relationship between Nietzsche's understanding of the purpose of artistic activity and the ontological meaning of Greek existence. Due to the content of the enlightenment covered in the first chapter, the second chapter had to question art itself as a figure of the Hellenic will, as a figure of the metaphysical foundation of the life of a people. That is, to the extent that it carries within itself the modes and principles through which we can clarify the fundamental meaning of being Greek, it must be questioned from the question of its essence. Finally, in the third chapter, as I tried to make explicit the fundamental ontological meaning that resides under Nietzsche's questioning about the need for art in a given culture, I tried to understand the relationship between modern culture, its artistic productions, and the decadence or cultural success from the metaphysical meaning attributed to art and the aesthetic experience for culture. For these three points and their developments, I aimed to carry out an interpretation of Nietzsche's youth work through a necessarily aesthetic philosophy. |