20: Schopenhauer as Educator

20: Schopenhauer as Educator

We begin to answer the question as to what Nietzsche saw in Schopenhauer, mostly in Nietzsche's own words. But the answer is not so simple as Nietzsche simply listing off a few ideas or character traits that he liked. Rather, Schopenhauer is held up alongside Rousseau and Goethe as an "image of man" to reveal to mankind how we might be elevated beyond the merely animal. All three are among those who have channeled genius, the "rarest specimens" of mankind who make up the extraordinary examples of artists, saints and philosophers who have existed throughout the ages. Nietzsche finds, in Schopenhauer, the timeless symbol of the solitary thinker. Schopenhauer was independent and uncompromising in both his philosophical convictions and in his personality. Like Heraclitus, he looks deep within himself and rejects all that is superficial and external with a skepticism like an all-devouring fire. Unlike the "savants" - the scholars and intellectuals to whom knowledge is a series of techniques or a discipline, which is studied to advance oneself in a career - the solitary genius does not know what dispassionate knowledge is, and is compelled to live out his philosophy through action. How a philosopher's example might inform our life and actions - in other words, how it might be educative - is of key importance to Nietzsche. A true cultural and philosophical education is something he thinks is totally lacking in his own age (this holds true today as well). The educative example of Schopenhauer was a personal inspiration to Nietzsche, in helping to motivate him to eventually pursue a life of solitude. But, more importantly, the genius who is the end and the advancement of culture solved a lingering problem in Nietzsche's philosophy: how to make mankind transcendentally valuable if mankind is no different from the rest of the animals. He writes that nature made its single leap in the great people who become artists, saints and philosophers. As to how Schopenhauer contrasts with Goethe and Rousseau... you'll just have to listen and find out! Episode art: Viktor Vatnetsov, Knight at the Crossroads (detail)

Avsnitt(229)

Birth of Tragedy #8: 22-25 (Conclusion)

Birth of Tragedy #8: 22-25 (Conclusion)

Nietzsche recapitulates and summarizes his positions, and provides us with a few relatively simple formulas for understanding the interaction of the two art-forces. He hopes for a rebirth of tragic art in Europe. We conclude with my distillation of the main philosophical concepts, the significance of which can be expanded beyond the work.

4 Okt 20222h 4min

Birth of Tragedy #7: 18-21 (Alexandrianism)

Birth of Tragedy #7: 18-21 (Alexandrianism)

Here we find the idea of cultures as admixtures of the Apollinian, Dionysian, or Socratic approaches to life. The Socratic is distinguished from the Apollinian, and modern art and culture is assessed as theoretic parasitism on art.

27 Sep 20221h 59min

Birth of Tragedy #6: 14-17 (The Theoretic v/s the Tragic)

Birth of Tragedy #6: 14-17 (The Theoretic v/s the Tragic)

Socrates, having been introduced in the last chapter we studied in the previous section, appears now to threaten all art, with a worldview described as "the theoretic", which is fundamentally opposed to the tragic. The theoretical worldview is, by nature, optimistic, moralistic, and against all illusion and ignorance. Nietzsche first raises the prospect of "an artistic Socrates", and rails against the New Attic Comedy as a degenerated artform in comparison to Attic Tragedy.

20 Sep 20222h 36min

Birth of Tragedy #5: 11-13 (Euripedes & The Death of Tragedy)

Birth of Tragedy #5: 11-13 (Euripedes & The Death of Tragedy)

Now we turn to the effect of Euripedes, and Nietzsche’s charge that this tragedian came under the influence of Socrates, and the new form of drama, New Attic Comedy, that followed.

13 Sep 20222h

Birth of Tragedy #4: 8-10 (Evolution of the Satyr Chorus & Suffering Hero)

Birth of Tragedy #4: 8-10 (Evolution of the Satyr Chorus & Suffering Hero)

Let’s talk about the evolution of the Attic Tragedy: from solo dithyrambic poet, to dithyrambic chorus, to chorus plus the ritualized portrayal of a masked Dionysus, to an entire tragedy performed on stage behind the “magic wall” of the chorus.

6 Sep 20222h 12min

Birth of Tragedy #3: 4-7 ("Objective" v/s "Subjective" Art)

Birth of Tragedy #3: 4-7 ("Objective" v/s "Subjective" Art)

We continue our analysis of Birth of Tragedy, and enter one of the most byzantine sections of the text. Don’t worry, I shall be your Ariadne.

30 Aug 20222h 4min

Birth of Tragedy #2: 1-3 (The Two Art-Forces)

Birth of Tragedy #2: 1-3 (The Two Art-Forces)

Today we cover the first three sections of Birth of Tragedy. Slow going, I know- but things will begin to move at a faster clip as we continue. In this episode the core concepts of the Apollinian and Dionysian art forces are explained, their relation to one another, and their origin in dreams and intoxication.

23 Aug 20221h 56min

Birth of Tragedy #1: Attempt At Self-Criticism/Preface to Wagner

Birth of Tragedy #1: Attempt At Self-Criticism/Preface to Wagner

In the name of Lord Dionysus, it with great joy and solemnity that we commence this, the first of our Nietzschean bookclubs. This series will see me undertake an in-depth analysis, moving section-by-section, through Nietzsche’s first book: The Birth of Tragedy. In the first episode, we’ll look at Nietzsche’s masterful second preface, written in 1886 and attached to the beginning of the work. This episode will therefore serve as a sort of introduction to the text, contextualizing it within Nietzsche’s own understanding of his early text and how it laid the foundations for many of his later ideas.

16 Aug 20222h 25min

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