Friedrich Nietzsche

Jacó Guinsburg

Primeiro livro de Nietzsche, 'O nascimento da tragédia' foi publicado em 1872. Obra de um jovem professor de letras clássicas, despertou polêmica pelo seu caráter pessoal e pela ousadia de sua abordagem - desafiava a concepção tradicional dos gregos como povo sereno e simples e exaltava a ópera de Wagner como renovadora do espírito alemão, numa singular mistura de reconstrução histórica, intuição psicológica e militância estético-cultural. Mais de um século depois, suas teses continuam discutidas. Ele oferece não só uma interpretação da tragédia, mas da própria cultura grega, do nexo entre arte e conhecimento e da época moderna. Já neste primeiro rebento a filosofia nietzscheana se revela como apaixonada reflexão sobre o sentido da existência.

O nascimento da tragédia ou Helenismo e pessimismo

Presents an argument for the necessity for art in life. This book is based on the author's enthusiasms for Greek tragedy, for the philosophy of Schopenhauer and for the music of Wagner. It outlines a distinction between two central forces: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime.

Out of the Spirit of Music

The Birth of Tragedy

"underneath this reality in which we live and have our being, another and altogether different reality lies concealed."

Friedrich Wilhelm Nietzsche

"The two books in this volume belong together in theme. The Birth of Tragedy, Nietzsche's first book, ends with a lengthy panegyric on the rebirth of tragedy in Wagner's opera's. In his "Attempt at a Self-Criticism," added as a preface to the "new edition" of 1886, Nietzsche regretted that he had "spoiled the grandiose Greek problem ... by introducing the most modern problems," and he explained that he had meanwhile come to see Wagner in a very different light. Two years later, in 1888, Nietzsche brought out the last book whose publication he himself experienced: The Case of Wagner."--From book's preface.

And The Case of Wagner

Donald

I was inspired to read this by the discussions of it in THE ABSENT SEA by Carlos Franz. In the Franz novel, and pretty much everywhere else, the meaning of this book is boiled down to the conflict between Apollo and Dionysus. I disagree.

Apollo and Dionysus are actually intertwined and almost part of each other. The real conflict is between Dionysus and Socrates (via Euripides). Whereas Apollo actually allows a space for Dionysus to flourish, Socrates is a demon that destroys him. It makes me want to reread the tragedies.

I wish philosophers still wrote like this.

Philosopher's classic study declares that Greek tragedy achieved greatness through a fusion of elements of Apollonian restraint and control with Dionysian components of passion and the irrational.

Roman Micevic

James Miller

Aaron McCollough

Nelson Zagalo

Infamous Millimetre

Antoine Pirard

Alan Alves

Soner Zengin

Ada 

Victoria Marcos

Shreyaa

" Nous aurons fait en esthétique un grand pas lorsque nous serons parvenus non seulement à la compréhension logique mais à l'immédiate certitude intuitive que l'entier développement de l'art est lié à la dualité de l'apollinien et du dionysiaque. Ces noms, nous les empruntons aux Grecs, lesquels ont donné à entendre le sens profond et la doctrine secrète de leur intuition esthétique dans les figures incisives et nettes de leur panthéon. C'est à leurs deux divinités de l'art, Apollon et Dionysos, que se rattache la connaissance que nous pouvons avoir dans le monde grec, d'une formidable opposition, quant à l'origine et quant au but, entre l'art plastique - l'art apollinien - et l'art non plastique qui est celui de Dionysos. Ces deux impulsions, si différentes, marchent de front, mais la plupart du temps en conflit ouvert, s'excitant mutuellement à des productions toujours nouvelles et de plus en plus vigoureuses afin de perpétuer en elles ce combat de contraires (entre lesquels le mot " art " qu'on leur attribue en commun ne fait qu'apparemment jeter un pont), jusqu'à ce qu'enfin, par un geste métaphysique miraculeux de la " volonté " hellénique, elles apparaissent accouplées l'une à l'autre et, dans cet accouplement, en viennent à engendrer l'œuvre d'art à la fois dionysiaque et apollinienne, la tragédie attique. " F.N.

La naissance de la tragédie

Morgane

Olivera Mitić

Dilara Alemdar

Jales

Greta V. 

Joshua Line

Joseph Aleo

Explores the origins of Greek tragedy and the elements through which it achieved greatness, which include the opposing characteristics of Dionysian irrationality and Apollonian restraint.

O nascimento da tragédia ou Helenismo e pessimismo

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