Informe de Seminario para optar al grado de Licenciado en Filosofía / Autor no autoriza el acceso a texto completo de su documento.

Tesis para optar al grado de Magíster en Filosofía / El trabajo desarrollado en la presente investigación, tiene como objetivo fundamental profundizar y reflexionar sobre la relación que existe entre el pensamiento trágico y la libertad en el contexto de la obra nietzscheana de juventud. Para estos efectos, el primer recurso metodológico a practicar, consiste en una delimitación y contextualización de lo que significa el pensamiento trágico como cosmovisión, por lo que el primer capítulo, se concentra en la referencia a un proceso en que se configura una interpretación trágica de la realidad en el ámbito de la filosofía y particularmente en el pensamiento de Nietzsche. La segunda parte inicia con una búsqueda de los referentes griegos que se manifiestan en el pensamiento juvenil del autor, con la finalidad de reconstruir la noción de libertad. A partir del reconocimiento y profundización de los diversos temas y aspectos que aluden en distintos sentidos a la idea de libertad, se va distinguiendo entre un sentido metafísico y otro existencial, de manera que, en el segundo capítulo se explicita la relación fundamental entre lo trágico y la libertad, donde el carácter agonaldel juegoaparece como elemento sustancial en dicha relación. Finalmente lo trágico concebido desde la libertad, es puesto en relación con la crítica de la modernidad, donde tal época histórica es interpretada como hybris, puesto que la relación entre el ser humano y el límite aparece trastocada. Una de las consecuencias es que se encubre la noción auténtica de libertad, que en la perspectiva nietzscheana se vincula con un proceso de despliegue de la existencia, donde resulta fundamental el reconocimiento de la continuidad ontológica entre humanidad y naturaleza y el replanteamiento de la formación, todo esto en un horizonte de comprensión que valora desde un pesimismo de la fortaleza.

Informe de Seminario para optar al grado de Licenciado en Filosofía / El presente trabajo tiene por objetivo demostrar que a partir de las relaciones conceptuales entre el pre romanticismo alemán y la filosofía de juventud en Friedrich Nietzsche, surge la crítica de la fragmentación del individuo, el exceso de cientificismo y la necesidad de integración de los saberes que se han venido desarrollando en la historia del ser humano. Para dicho objetivo, en primera instancia, se relaciona la visión cultural y la importancia de la educación estética para el ser humano moderno en la filosofía de Friedrich Schiller y su relación con la concepción de arte en Friedrich Nietzsche. Luego, desde el ámbito de los estados de ánimo y las experiencias, el trabajo pretende desarrollar los diversos conflictos, así como el surgimiento de sus desenlaces, que se verán reflejados en la crítica por parte de Nietzsche a la filología clásica y a la necesidad de su integración con los otros saberes de la humanidad. Integración que tiene como influencia a Friedrich Schlegel. A continuación, se desarrolla la actitud intempestiva y las diversas formas que ésta adquiere, como el temple necesario ante la crítica de la modernidad y el ideal de integración. Finalmente, Nietzsche y su peculiar manera de ser <<doctor de la cultura>>, desvela una crítica no sólo estructural y metodológica de la modernidad, sino que también se inserta en la herida misma del cuerpo cultural. Palabras claves: arte, filosofía, ciencia, intempestivo, crítica e integración.

The primary aim of this psychobiography was to examine Friedrich Nietzsche’s life by utilizing Carl Rogers’ theory of the fully functioning person. Friedrich Nietzsche (1844 - 1900) has become an iconic figure in German philosophy and literature. Nietzsche’s criticism of western morality and culture led him to believe that humankind was not living to its highest potential and consequently Nietzsche sought after a life of self-becoming. Nietzsche’s philosophy has influenced various people such as Viktor Frankl, DH Lawrence, Michel Foucault and NP van Wyk Louw. Nietzsche was chosen as the research subject because of personal interest, his prominence as a philosopher, and because of his ambition to live a meaningful life. Psychobiographical research with the use of psychological theory allows for the exploration and description of the life of an individual. This significant area of research involving the application of psychological theory has in previous decades, however, been under-utilized, particularly in South Africa. But more recently, has it been receiving increasing support by researchers both internationally and in South Africa. Data collected on Friedrich Nietzsche’s life were drawn from several primary and secondary sources. A data collection and analysis grid was developed in order to collect data systematically, and to analyse the data according to the qualities of Carl Rogers’ theory. The study adds to the body of psychobiographical research. It also provides an empirical exploration of Carl Rogers’ theory of the fully functioning person. As the scope of the study was that of a master’s dissertation, future research, utilising semi-structured interviews with knowledgeable relatives, academics, psychologists, biographers, philosophers and historians on Nietzsche’s life, could extend this line of research. In conclusion, the current psychobiography suggests that Nietzsche lived a life filled with several personal crises. Despite these challenges, Nietzsche directed himself towards living as a fully functioning person. Nietzsche’s impetus towards self-becoming is also evident within his philosophical writings. Nietzsche was an extraordinary individual whose life, as described in the current psychobiography, corresponds closely to Rogers’ (1961) theory of a fully functioning person.

The German expressionist poet Gottfried Benn (1886-1956), a great admirer of the philosopher, psychologist, poet, anti-Christ and art theoretician Friedrich Nietzsche (1844-1900), quoted and commented on the works of the latter from 1926 until his death. Benn’s references to Nietzsche range from the mere mention of the name in some works to entire poems (c.f. “Sils Maria”), essays, and lectures on Nietzsche (c.f. “Nietzsche – nach fünfzig Jahren”). Benn made no secret of his hero-worship for Nietzsche and considered himself the latter’s heir as far as his theory of art was concerned. Three key ideas on art, which Benn took over from Nietzsche and quoted, elaborated, and commented upon are: the idea that the world and existence are justifiable only as esthetic phenomena, the idea of art as the “Olymp des Scheins”, and the idea of art as the actual task of man, as his metaphysical activity. In my thesis I have attempted to show that in spite of Benn’s great admiration of Nietzsche as art theoretician, in spite of the fact that Benn used Nietzsche’s art vocabulary and took over quotations from his works almost verbatim, in spite of the fact that both Benn and Nietzsche saw in art the salvation for man in the midst of the European nihilism, Benn misunderstood Nietzsche’s basic message. I have explained that Benn and Nietzsche looked upon nihilism from two divergent points of view. Nietzsche concerned himself with giving the old “absolute” values, which were in their death-throes, the coup de grace and tried to establish in his Übermensch” ideal, an ideal which man is not meant to ever attain, but must continuously strive for, a new set of values, a new “metaphysics”, one not of the supernatural world, but of the natural world, different from the metaphysics of the Christian-Platonic tradition in that it looked upon man as a unity, a polarity of the material and the non-material and sought to bring them in harmony not through the violence of the extermination of the passions and the drives, but rather through their sublimation. For Nietzsche, nihilism was a brief temporary stage in the history of ideas, the natural and necessary conclusion of the old absolute values, an end the seed of which the old values had borne in themselves from their very inception, since they were based upon a denial of and violence against nature. Nietzsche’s attitude was a dynamic, revolutionary and creative one, and he saw at the center of his new valuation, as an enticement to life, as that which leads man to an affirmation of the totality of life – its pain and sorrow as well as its joys. For Benn, on the other hand, who saw in Nietzsche not a positor of new values, but a destroyer of the old ones, a materialist and a disciple of Darwin, nihilism was insurmountable and here to stay. His attitude was a heroic nihilism – one of resignation, a static, quietistic attitude. As a result of man’s progressive cerebration and his subsequent loss of a genuine relationship to nature, the material and the non-material aspects of man, life and intellect were considered by Benn to constitute an irreconcilable antimony. As a result he also considered art and life as two separate spheres and saw art as an escape, as the artist’s search for his identity. From this point of view Benn developed his theory of absolute art, of art for the sake of art, of art as form. I have attempted to show that Benn’s misunderstanding of Nietzsche on the subject of art – not notwithstanding the similarity or the vocabulary employed by the two authors – stems from his misunderstanding of Nietzsche as a philosopher, from the fact that Benn overlooked certain aspects of the writings of Nietzsche in favor of other aspects. By Benn’s own admission, his favorite book on Nietzsche was Ernst Bertram’s “Nietzsche: Attempt at a Mythology” (1918). I have examined this book, under whose spell Benn had fallen, and have found that Bertram, a member of the George-Kreis, the members of which used the Nietzsche of the Nietzsche “Legend” to their own ends, made no claim to either historical or philosophical accuracy, indeed that he overlooked Nietzsche’s philosophy completely, that his goal was to perpetuate the Nietzsche “cult” of the Kreis. For Bertram Nietzsche was not a philosopher, but a mystic and a saint. It is well-known that Nietzsche’s vocabulary lends itself especially well to misinterpretations of all sorts, intentional as well as unintentional. One need only think of what the Nazis were able to do with the“blond beast”and the “superman”, words taken out of context and used as slogans to fit a given ideology. The first scientific work which dealt seriously with Nietzsche as a philosopher was that by Jaspers in 1936, in which a brief half-page is devoted to art. The other scientific works on Nietzsche as a philosopher have appeared only much more recently.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Québec Université Laval, Bibliothèque 2018

La philosophie pessimiste de Schopenhauer sera confrontée avec la pensée nietzschéenne. Nous allons démontrer que la tragédie attique coïncide avec une affirmation de la souffrance. Nietzsche fait la distinction entre une vie ascendante et déclinante. C’est l’aptitude à affronter et surmonter la souffrance qui servira de critère entre les forts et les faibles. Le plaisir et la douleur sont des interprétations de la volonté de puissance en réaction à une excitation. Nous distinguerons la vie qui lutte pour la puissance et celle qui lutte pour sa conservation. Pour Nietzsche, il faut s’ouvrir à la souffrance pour créer et vivre supérieurement. Le surhumain, en opposition avec la pitié, sera l’horizon de dépassement des hommes. Nietzsche s’en prend à l’idéal ascétique. Par une analyse généalogique de la mauvaise conscience, il découvre le rôle pernicieux qu’ont joué les prêtres dans le processus d’intériorisation de la douleur. Nous exposerons sa critique acerbe du christianisme.

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