本篇論文由朱利安．揚恩對於尼采的詮釋來展開討論，以重新思考尼采思想中本原與共同體的問題。 一般認為尼采哲學是一種反宗教思想，其更明確地宣稱自己為反基督。揚恩則提出尼采的思想是宗教的，此正與一般的理解背道而馳。揚恩理解宗教的其中一重要面向是共同體的建立，其對於共同體的概念有一預設，於統一意義下思考共同體。並論述此種共同體思考亦見於尼采的思想中，從而論證其是一宗教思想家。 本文主要規範於尼采的早期著作《悲劇的誕生》來進行論述，以考察揚恩的論述能否成立。揚恩理解共同體作為統一整體，統一的整體得以建立有賴於一個基礎，此基礎亦即本原之意。因而本文所針對的問題正是尼采所理解的本原。揚恩論述尼采酒神精神正是此種本原，此亦如同叔本華的原一之意，由此可見其仍於一種形而上學的結構下詮釋尼采，亦顯示出其並沒有對共同體的概念作出反思。筆者認為尼采的思想正有著超出形而上學的面向，酒神作為本原已是自身區分著的。而共同體亦非一整體，而是作為分延。此與揚恩的理解不同，由此得出其所斷定尼采是一宗教思想家是難以成立的。本文以本原和共同體的問題作為切入點，從而開展出一種對於尼采早期著作的重新思考。

MORENO FILHO, José William Moreira. A Transvaloração dos valores em O nascimento da tragédia. 2008. 116f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2008. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-10-02T13:47:10Z No. of bitstreams: 1 2008_dis_jwmmorenofilho.pdf: 649094 bytes, checksum: 986ba2ec8811ece7ab173281a1fac2e3 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-10-04T15:39:59Z (GMT) No. of bitstreams: 1 2008_dis_jwmmorenofilho.pdf: 649094 bytes, checksum: 986ba2ec8811ece7ab173281a1fac2e3 (MD5) / Made available in DSpace on 2017-10-04T15:39:59Z (GMT). No. of bitstreams: 1 2008_dis_jwmmorenofilho.pdf: 649094 bytes, checksum: 986ba2ec8811ece7ab173281a1fac2e3 (MD5) Previous issue date: 2008 / The major purpose of the present study is to make explicit the possible presence of a revaluative approach in Nietzsche’s first published work, The birth of tragedy. That book brings, according to the philosopher, the first signs of his mature central conception: the revaluation of all values, that is, the birth of a new consciousness and new values. In the late period of his philosophical works, such as Ecce homo, Twilight of idols and Attempt of self-critique, Nietzsche points out to that intention of a reformulation of his initial conceptions. That is to say, he declares that The birth of tragedy was his first revaluation of all values. If we mainly focus on his early (1872 – 1875) as well as his late (1886 – 1888) philosophical works, we can find throughout the relation between art and knowledge in what sense the revaluation of all values is to be conceived. It is on art, more specifically on the art of tragedy that Nietzsche sees a positive way for human existence, since art makes life become positive. If mankind adopted a way of life guided by its own artistical powers, it could recognize its proper skills either to create or to destroy moral values, becoming able of promoting a radical change of predominant moral values, that is, a revaluation of all values. Nevertheless, the belief of an unlimited knowledge, which the unartistic tendency inherited from the aesthetic socratism opposes the offspring of a new tragic (artistic) approach. That belief erroneously over-estimates rationality as it were able to solve all enigmas of life. Therefore, The birth of tragedy brings the very foundations of Nietzsche’s late philosophy, since one can find in that work the most important issues of his thought: the critique of an exaggerated rationality initiated by an unartistic tendency named aesthetical socratism; the apology of a tragic wisdom (dionisiac), which will only be apprehended by art. Nietzsche’s struggle, therefore, aimed to call modern mankind’s attention, witch inherited aesthetic socratism, to realize the decadence of a lifestyle guided by unartistic tendencies; he also pointed out that only throughout an artistic existence mankind would be able to overcome decadent values. In that sense, art is Nietzsche’s affirmative proposal in The birth of tragedy which will be maintained in his latest philosophy. That is because it is only by that first work that the philosopher would be able to propose a revaluation of all values in his final work, by means of which life would be toned up in order to become positive. / A proposta deste trabalho tem como objetivo central explicitar a presença de um caráter transvalorativo na primeira obra publicada por Nietzsche: O nascimento da tragédia. Esta traz embrionariamente, segundo o próprio filósofo, o que seria mais tarde o objetivo central de toda sua filosofia: a transvaloração de todos os valores, isto é, o nascimento de um novo parâmetro de avaliação, de novos valores. Nietzsche, em textos de seu último período filosófico como Tentativa de autocrítica, Crepúsculo dos ídolos e Ecce Homo, [aponta para essa intenção de redimensionamento de suas teses iniciais; ou seja,] alega que O nascimento da tragédia foi a sua primeira Transvaloração de todos os valores. Focando exclusivamente em textos escritos na sua juventude (1872 – 1875) e maturidade (1886 – 1888) filosófica, a relação entre arte e conhecimento, nos períodos apontados, indicará em que sentido a transvaloração deve seguir. É na arte, mais precisamente na arte trágica, que Nietzsche vislumbra uma existência positiva, no sentido de que a arte afirma a vida. O homem, assumindo uma vida artística, ou seja, reconhecendo-se como criador e destruidor de valores, torna-se capaz de promover uma mudança radical nos valores vigentes, uma transvaloração dos valores. Entretanto, a crença no conhecimento ilimitado, que a tendência inartística do socratismo engendrou em nossa sociedade moderna, obsta a vinda de uma nova era trágica (artística). Essa crença supervaloriza a razão dotando-a, segundo Nietzsche, erroneamente da capacidade de desvendar os enigmas da vida. Assim, O nascimento da tragédia traz em si as bases da filosofia tardia nietzschiana, pois nela já se encontram temas de extrema importância do seu filosofar, são eles: crítica à razão exacerbada iniciada por uma tendência inartística denominada de socratismo (estético e teórico) e a apologia a uma sabedoria trágica (dionisíaca), a qual só pode ser aprendida através da arte. A luta de Nietzsche é, portanto, alertar o homem moderno, herdeiro do socratismo, o quanto a vida guiada por essa tendência inartística é decadente; é mostrar que só através de uma existência artística o homem seria capaz de superar valores decadentes. A valorização da arte é a proposta afirmativa de Nietzsche em O nascimento da tragédia que será retomada em sua filosofia derradeira, pois é somente por meio dela que uma transvaloração de todos os valores se tornará possível e, consequentemente, a vida será tonificada e afirmada.

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This study defines and applies a theory of tragedy which is based on the work of Friedrich Nietzsche in The Birth of Tragedy. In the first chapter the writer argues for the need of a widely accepted theory of tragedy and show that we do not presently have one. In the same chapter, the writer presents the theory that tragedy is a very specific art type which transcends genre and which is the product of a synthesis of the Dionysiac and Apollonian forces in Western culture. The writer argues that by understanding the philosophical and aesthetic nature of the forces as they are expressed in tragedy we can isolate and define the essential elements of tragedy. Tragedy must have a person of heroic stature as its main protagonist. It must have a specific kind of plot in which a reversal of the hero's experience of the universe occurs. It must have a choric element, which is a combination of two components: communality and lyricism. Finally, tragedy must contain a mythic background which allows for the expression of two themes, the Dionysiac theme and the Apollonian theme.

This essay analyzes the theme of the pursuit of beauty in The Secret History. It analyzes the main characters’ concept of beauty, their manner of seeking beauty, as well as the result of this search. For this analysis, I use Friedrich Nietzsche’s theories of the Apollonian and the Dionysian as outlined in The Birth of Tragedy and in scholarly texts that analyze TBT— which describe the Apollonian/Dionysian dichotomy as the opposed worlds of order and madness— to define the main characters’ concept of beauty. The narrator of the novel once says that “beauty is terror” (Tartt 45), a statement which paints beauty as harsh and shocking, and potentially destructive. Likewise, in this essay I argue that for these characters beauty is created through the interplay between the Apollonian and the Dionysian, and that its pursuit leads to destruction. I analyze this through the characters of Richard Papen, Henry Winter, and Bunny Corcoran. Richard and Henry pursue beauty in that the actions they take are aimed at embodying an aesthetic ideal. In Richard’s case, it is his longing for beauty which leads him to imitate and join the classicists— particularly by mimicking their socio-economic class— and which eventually places him in a disordered Dionysian world of madness and murder. Henry, on the other hand, is the embodiment of Apollonian order, and it is his search for beauty through a bacchanal which leads him to commit murder twice and, eventually, to take his own life. Lastly, Bunny is different in that he is neither beautiful nor interested in beauty as his peers define it. It is because of this that he is excluded from the others’ pursuit of beauty, that he is murdered, and that his murder is justifiable in the eyes of his murderers. This study finds that, in The Secret History, where beauty is defined as the dance between Apollonian order and Dionysian madness, the Dionysian ends up as the victorious half of the dichotomy, causing the loss of reason and the triumph of destruction and disaster. This portrayal of beauty as destruction and vice versa, rather than serving as the vehicle for a moral indictment, is instead the very purpose of the novel.

This project compares the career of the early 20th century ballet dancer, Vaslav Nijinsky, to Friedrich Nietzsche’s theory of the tragic arts. In The Birth of Tragedy (1872) and elsewhere, Nietzsche argues that artists play the central role in communal mythmaking and religious renewal; he prescribes the healing work of the “tragic artist” to save modernity from the decadence and nihilism he identifies in scientism, historicism, and Christianity. As a dancer, and especially as a choreographer for the Ballets Russes (1912-1913), Nijinsky staged a kinetic response to modern culture that not only displayed shared concerns with Nietzsche, but also, as I argue, allow him to be interpreted as Nietzsche’s archetypical tragic artist. By juxtaposing the philologist-philosopher and dancer-choreographer as artists, I situate the emergence of Modern Art as a nascent movement still bound to Romanticism even while rebelling against it, and as an attempt to reinterpret art in a mythic (and thoroughly modern) context.

nÃo hà / A proposta deste trabalho tem como objetivo central explicitar a presenÃa de um carÃter transvalorativo na primeira obra publicada por Nietzsche: O nascimento da tragÃdia. Esta traz embrionariamente, segundo o prÃprio filÃsofo, o que seria mais tarde o objetivo central de toda sua filosofia: a transvaloraÃÃo de todos os valores, isto Ã, o nascimento de um novo parÃmetro de avaliaÃÃo, de novos valores. Nietzsche, em textos de seu Ãltimo perÃodo filosÃfico como Tentativa de autocrÃtica, CrepÃsculo dos Ãdolos e Ecce Homo, [aponta para essa intenÃÃo de redimensionamento de suas teses iniciais; ou seja,] alega que O nascimento da tragÃdia foi a sua primeira TransvaloraÃÃo de todos os valores. Focando exclusivamente em textos escritos na sua juventude (1872 â 1875) e maturidade (1886 â 1888) filosÃfica, a relaÃÃo entre arte e conhecimento, nos perÃodos apontados, indicarà em que sentido a transvaloraÃÃo deve seguir. à na arte, mais precisamente na arte trÃgica, que Nietzsche vislumbra uma existÃncia positiva, no sentido de que a arte afirma a vida. O homem, assumindo uma vida artÃstica, ou seja, reconhecendo-se como criador e destruidor de valores, torna-se capaz de promover uma mudanÃa radical nos valores vigentes, uma transvaloraÃÃo dos valores. Entretanto, a crenÃa no conhecimento ilimitado, que a tendÃncia inartÃstica do socratismo engendrou em nossa sociedade moderna, obsta a vinda de uma nova era trÃgica (artÃstica). Essa crenÃa supervaloriza a razÃo dotando-a, segundo Nietzsche, erroneamente da capacidade de desvendar os enigmas da vida. Assim, O nascimento da tragÃdia traz em si as bases da filosofia tardia nietzschiana, pois nela jà se encontram temas de extrema importÃncia do seu filosofar, sÃo eles: crÃtica à razÃo exacerbada iniciada por uma tendÃncia inartÃstica denominada de socratismo (estÃtico e teÃrico) e a apologia a uma sabedoria trÃgica (dionisÃaca), a qual sà pode ser aprendida atravÃs da arte. A luta de Nietzsche Ã, portanto, alertar o homem moderno, herdeiro do socratismo, o quanto a vida guiada por essa tendÃncia inartÃstica à decadente; à mostrar que sà atravÃs de uma existÃncia artÃstica o homem seria capaz de superar valores decadentes. A valorizaÃÃo da arte à a proposta afirmativa de Nietzsche em O nascimento da tragÃdia que serà retomada em sua filosofia derradeira, pois à somente por meio dela que uma transvaloraÃÃo de todos os valores se tornarà possÃvel e, consequentemente, a vida serà tonificada e afirmada. / The major purpose of the present study is to make explicit the possible presence of a revaluative approach in Nietzscheâs first published work, The birth of tragedy. That book brings, according to the philosopher, the first signs of his mature central conception: the revaluation of all values, that is, the birth of a new consciousness and new values. In the late period of his philosophical works, such as Ecce homo, Twilight of idols and Attempt of self-critique, Nietzsche points out to that intention of a reformulation of his initial conceptions. That is to say, he declares that The birth of tragedy was his first revaluation of all values. If we mainly focus on his early (1872 â 1875) as well as his late (1886 â 1888) philosophical works, we can find throughout the relation between art and knowledge in what sense the revaluation of all values is to be conceived. It is on art, more specifically on the art of tragedy that Nietzsche sees a positive way for human existence, since art makes life become positive. If mankind adopted a way of life guided by its own artistical powers, it could recognize its proper skills either to create or to destroy moral values, becoming able of promoting a radical change of predominant moral values, that is, a revaluation of all values. Nevertheless, the belief of an unlimited knowledge, which the unartistic tendency inherited from the aesthetic socratism opposes the offspring of a new tragic (artistic) approach. That belief erroneously over-estimates rationality as it were able to solve all enigmas of life. Therefore, The birth of tragedy brings the very foundations of Nietzscheâs late philosophy, since one can find in that work the most important issues of his thought: the critique of an exaggerated rationality initiated by an unartistic tendency named aesthetical socratism; the apology of a tragic wisdom (dionisiac), which will only be apprehended by art. Nietzscheâs struggle, therefore, aimed to call modern mankindâs attention, witch inherited aesthetic socratism, to realize the decadence of a lifestyle guided by unartistic tendencies; he also pointed out that only throughout an artistic existence mankind would be able to overcome decadent values. In that sense, art is Nietzscheâs affirmative proposal in The birth of tragedy which will be maintained in his latest philosophy. That is because it is only by that first work that the philosopher would be able to propose a revaluation of all values in his final work, by means of which life would be toned up in order to become positive.

Since the post-positivist turn in critical political theory, many scholars of political science have tried to reimagine the discipline through feminist, Marxist, and postcolonial critiques. However, even critical scholars often overlook that all forms of critique are aesthetic- as is the mainstream of political science that they criticize. Despite these proliferating critiques, much of political science is still shaped by a robust epistemological orientation towards scientific aspirations, which I describe as a scientific epistemic mode. The argument of this thesis is that the dominance of a scientific epistemic mode in political science orients this discipline erroneously against aesthetic receptivity and production. The relationship between political science and aesthetics is often characterized by affects of discomfort and shame, so that aesthetic qualities in research are associated with unscientific, and therefore illegitimate outcomes. The claim that aesthetics is not suited to the study of politics is longstanding, but not necessarily legitimate. Rather than conceive of aesthetics and science as essentially opposed, this thesis considers how this dualism can be understood as a discursive formation. The notion of aesthetics as a threat to science exists as far back as Plato’s Republic, where poetry is banished for the sake of philosophy. Contra Plato, Kant acknowledges aesthetics as a relevant epistemic mode in The Critique of Judgment, but determines aesthetics to be irreconcilable with a reason-based, scientific epistemology. Finally, in The Birth of Tragedy Nietzsche’s reading of Attic Tragedy suggests that, like the figures of Dionysus and Apollo, aesthetics and science can be thought of as two forces in a relation of productive antagonism rather than mutual exclusion or domination. In response to the naturalized, scientific epistemic mode in political science, an aesthetic epistemic mode acknowledges the fusion of aesthetics and science in the production of political analysis. Following Isabelle Stengers, this thesis tries to slow down the sense that aesthetics is inferior, excluded and dominated by science, suggesting that political science begin to cultivate a receptive awareness of its own aesthetic value. In making aesthetics a legitimate focus in political science, an aesthetic epistemic mode is practised by seeking out relevant questions rather than demanding immediate, “scientific” answers. / Graduate / 0615 / 0422 / anctil.laura@gmail.com

Assim como Sócrates representa a filosofia de Platão em seus diálogos e Zaratustra encarna os conceitos da filosofia nietzschiana, também o Meursault de Albert Camus é um avatar para sua filosofia. No eterno presente de Meursault, na terna indiferença de seu amor e abertura ao mundo e ao destino, estão encarnados os principais conceitos da filosofia camusiana. Na obra de Camus, a tragédia do protagonista de O Estrangeiro e sua postura diante do tempo, do mundo e do destino têm sua raiz na tragédia do Mersault de A Morte Feliz e, em última análise, na tragédia do inválido Zagreus: na morte do inválido Zagreus de A Morte Feliz está a tragédia original do Mersault de A Morte Feliz e do Meursault de O Estrangeiro. E Camus não deu o nome de Zagreus a esta personagem por acaso. Na tragédia do inválido Zagreus de A Morte Feliz e na tragédia dos protagonistas de A Morte Feliz e O Estrangeiro, Camus fez referência ao mito de Dioniso Zagreus. Nesta dissertação, mostraremos que a origem da filosofia de Camus em O Estrangeiro e A Morte Feliz está no mito de Dioniso Zagreus e, mais precisamente, no mito de Dioniso Zagreus segundo o interpretou Nietzsche. No conceito de dionisíaco em O Nascimento da Tragédia e nos correlatos conceitos nietzschianos de amor fati e eterno retorno, encontramos o lugar de gênese dos conceitos camusianos de eterno presente, terna indiferença, amor ao destino, amor ao mundo e abertura ao mundo na Tradição Filosófica, encarnados na figura dos protagonistas de O Estrangeiro e A Morte Feliz. Na filosofia de Nietzsche, encontramos a principal influência de Camus para a criação de sua filosofia em O Estrangeiro e A Morte Feliz. / Just as Socrates represents the philosophy of Plato in his dialogues and Zarathustra embodies the concepts of the nietzschian philosophy, the Meursault of Albert Camus is an avatar for his philosophy. In the eternal present of Meursault, in the tendre indifférence of his love and opening towards the world and towards his destiny, the main concepts of the camusian philosophy are depicted. In the works of Camus, the tragedy of Meursault in LÉtranger is originally in the tragedy of the Mersault in La Mort Heureuse, and moreover, in the tragedy of the crippled Zagreus: in the death of the crippled Zagreus in La Mort Heureuse and in the final tragedies of La Mort Heureuse and LÉtranger, Camus referred to the myth of Dionysos Zagreus. In this dissertation, we shall indicate the origin of the philosophy of Camus in LÉtranger and La Mort Heureuse; we shall indicate its origin in the myth of Dionysos Zagreus and, more precisely, in Nietzsches interpretation of that myth. In the nietzschian concept of dionysian and in the related nietzschian concepts of amor fati and eternal recurrence, we have found the main influence in the genesis of the camusian concepts of eternal present, tendre indifférence, love of destiny, love of the world and opening towards the world, all embodied in the Meursault of LÉtranger and in the Mersault of La Mort Heureuse. In the philosophy of Nietzsche, we have found Camus main influence for the creation of his philosophy in LÉtranger and La Mort Heureuse.

Assim como Sócrates representa a filosofia de Platão em seus diálogos e Zaratustra encarna os conceitos da filosofia nietzschiana, também o Meursault de Albert Camus é um avatar para sua filosofia. No eterno presente de Meursault, na terna indiferença de seu amor e abertura ao mundo e ao destino, estão encarnados os principais conceitos da filosofia camusiana. Na obra de Camus, a tragédia do protagonista de O Estrangeiro e sua postura diante do tempo, do mundo e do destino têm sua raiz na tragédia do Mersault de A Morte Feliz e, em última análise, na tragédia do inválido Zagreus: na morte do inválido Zagreus de A Morte Feliz está a tragédia original do Mersault de A Morte Feliz e do Meursault de O Estrangeiro. E Camus não deu o nome de Zagreus a esta personagem por acaso. Na tragédia do inválido Zagreus de A Morte Feliz e na tragédia dos protagonistas de A Morte Feliz e O Estrangeiro, Camus fez referência ao mito de Dioniso Zagreus. Nesta dissertação, mostraremos que a origem da filosofia de Camus em O Estrangeiro e A Morte Feliz está no mito de Dioniso Zagreus e, mais precisamente, no mito de Dioniso Zagreus segundo o interpretou Nietzsche. No conceito de dionisíaco em O Nascimento da Tragédia e nos correlatos conceitos nietzschianos de amor fati e eterno retorno, encontramos o lugar de gênese dos conceitos camusianos de eterno presente, terna indiferença, amor ao destino, amor ao mundo e abertura ao mundo na Tradição Filosófica, encarnados na figura dos protagonistas de O Estrangeiro e A Morte Feliz. Na filosofia de Nietzsche, encontramos a principal influência de Camus para a criação de sua filosofia em O Estrangeiro e A Morte Feliz. / Just as Socrates represents the philosophy of Plato in his dialogues and Zarathustra embodies the concepts of the nietzschian philosophy, the Meursault of Albert Camus is an avatar for his philosophy. In the eternal present of Meursault, in the tendre indifférence of his love and opening towards the world and towards his destiny, the main concepts of the camusian philosophy are depicted. In the works of Camus, the tragedy of Meursault in LÉtranger is originally in the tragedy of the Mersault in La Mort Heureuse, and moreover, in the tragedy of the crippled Zagreus: in the death of the crippled Zagreus in La Mort Heureuse and in the final tragedies of La Mort Heureuse and LÉtranger, Camus referred to the myth of Dionysos Zagreus. In this dissertation, we shall indicate the origin of the philosophy of Camus in LÉtranger and La Mort Heureuse; we shall indicate its origin in the myth of Dionysos Zagreus and, more precisely, in Nietzsches interpretation of that myth. In the nietzschian concept of dionysian and in the related nietzschian concepts of amor fati and eternal recurrence, we have found the main influence in the genesis of the camusian concepts of eternal present, tendre indifférence, love of destiny, love of the world and opening towards the world, all embodied in the Meursault of LÉtranger and in the Mersault of La Mort Heureuse. In the philosophy of Nietzsche, we have found Camus main influence for the creation of his philosophy in LÉtranger and La Mort Heureuse.