The Thesis aims to explore the problem of Freedom and Creativity in Nietzsche. It attempts to do so in respect to the two main concepts of his high and late writings. Concept of Superman and concept of the Eternal recurrence of the same. In this respect our text follows especially interpretations of Martin Heidegger. We begin our treatise with situating Nietzsche's concept of freedom among more traditional thought and we put emphasis on comparison of it to the philosophy of Baruch Spinoza. In the next phase we reject (with Martin Heidegger and Ivan Dubský) simplifying understanding of the Eternal reccurence which understands it as dull determinism. We also analyse the topic of Creativity in Nietzsche and introduce it as fundamental anthropological theme. In the following chapters we identify certain moods that allow us to experience perspective of the Eternal reccurence and the one of Superman, which gives us chance to understand both concepts in their connection. But this connection remains enigmatic and in the last chapter we try, with help of Kierkegaard's concept of the moment, to understand both thoughts in their complementarity not only united in the concept of creativity, but also through Nietzsche's concept of the moment, understood as the original understanding of one of the aspects of...

Made available in DSpace on 2017-07-10T18:26:23Z (GMT). No. of bitstreams: 1 Leonardo Augusto Catafesta.pdf: 452585 bytes, checksum: 515c147274cd20b36866601e5be4e4ad (MD5) Previous issue date: 2010-12-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper aims to investigate the conception of Dionysian philosophy presented by Friedrich Nietzsche in his final writings. The German philosopher articulates the Dionysian notion along with the notion of Apollo in his first published book, namely, The birth of the tragedy (1872). In this work, there is a direct influence of Wagner s music and Schopenhauer s philosophy in the main theoretical conceptions, thus initiating a metaphysic of artist because, according to his conception, life can only be vindicated while aesthetic phenomenon. Since his work Too human (1878), the Dionysian concept disappears from Nietzschian texts, even in later fragments, returning only in the so called third phase, that is, from Thus spoke Zarathustra (1883), this time under a new approach Nietzsche completely disengages himself from Wagner and Schopenhoauer by not working with the metaphysic of artist or using the concept of Apollo. With a more mature thinking, the German philosopher diffuses his Dionysian philosophy proposing to be completely free from the metaphysic and at the same time affirming existence without boundaries. To do so, it is mainly necessary to transpose the Dionysian into philosophical pathos. Nietzsche makes use of tragic wisdom as the main instrument for such transposition for, only then, one can converse as regards Dionysian philosophy. Understanding tragic wisdom not as theoretical knowledge, but as the understanding and acceptance of the incessant fight that pervades all fractions of life, Nietzsche can declare himself as the first tragic philosopher. Not to fall in pessimism that depreciates life, due to his relentless fighting character, the philosopher exploits game notion. With it, man establishes common sense to the coming-to-be, interlining himself as supreme creator. Thus, a child s image is the example of the most skillful player because he or she inexorably throws him or herself at it without worrying about victory or defeat -- the important thing is to play the game. Hence, the path to understand Dionysian philosophy without presupposed metaphysisists is open. For Nietzsche metaphysic is articulated with the duplication of worlds a real world is envisioned as a condition of the apparent world . Having the need for truth as modus operandi, metaphysic mendaciously created a fixed and immutable world to justify the flow from the coming-to-be. According to the nietzschinian view, this entails the denial of effectiveness because by privileging the real world the apparent world is refuted, the only sphere on which the phenomenon life is possible. With the conception of the eternal recurrence of it, Nietzsche reaches a thought without metaphysic duality, overcoming the instant/everlasting dichotomy. For the metaphysic tradition, eternity has always been transcendent to the instant, as the eternal recurrence, eternity and instant have become equivalent, in other words, the instant is conceived as eternal. Moreover, to reach supreme affirmation of eternal recurrence, Nietzsche has notion of amor fati as being the great formula for the Yes, ie, of unrestricted affirmation for joy and pleasure as well as pain and suffering. In this sense, we can understand the Dionysian philosophy proposed by Nietzsche in his last writings while total suppression of affirmative pathos and metaphysic par excellence. / O objetivo do presente trabalho consiste na investigação da concepção da filosofia dionisíaca apresentada por Friedrich Nietzsche em seus escritos finais. O filósofo alemão lança a noção de dionisíaco, ao lado da noção de apolíneo, em seu primeiro livro publicado, a saber, O nascimento da tragédia (1872). Nesta obra há uma influência direta da música de Wagner e da filosofia de Schopenhauer nas principais concepções teóricas, surgindo, assim, uma metafísica de artista , pois a vida, na concepção de Nietzsche, só pode ser justificada enquanto fenômeno estético. Desde a obra Humano demasiado humano (1878), o conceito de dionisíaco desaparece dos textos nietzschianos, inclusive nos fragmentos póstumos, retornando apenas na chamada terceira fase do autor, ou seja, a partir de Assim falou Zaratustra (1883), só que agora sob uma nova abordagem: Nietzsche desvencilha-se completamente de Wagner e Schopenhauer, não trabalha sob uma metafísica de artista e não necessita mais da noção de apolíneo. Com o pensamento mais maduro, o filósofo alemão lança sua filosofia dionisíaca com a proposta de ser totalmente livre da metafísica ao mesmo tempo em que afirma irrestritamente a existência. Para isso, é necessário, primeiramente, transpor o dionisíaco em pathos filosófico. Nietzsche utiliza a sabedoria trágica como principal instrumento para tal transposição, pois, apenas assim, pode-se falar em filosofia dionisíaca. Entendendo a sabedoria trágica não como um conhecimento teórico, mas como a compreensão e aceitação da luta incessante que permeia todos os âmbitos da vida, Nietzsche pode declarar-se o primeiro filósofo trágico. E, para não cair num pessimismo que deprecie a vida, devido o seu caráter de luta sem trégua, o filósofo utiliza a noção de jogo. Com esta noção, o homem instaura sentido ao vir-a-ser, pautando-se como supremo criador. Deste modo, a imagem da criança é o exemplo do mais hábil jogador, pois se entrega inexoravelmente sem se preocupar com vitórias ou derrotas: o importante é jogar. Assim, abre-se o caminho para entender a filosofia dionisíaca sem pressupostos metafísicos. A metafísica, para Nietzsche, se articula com a duplicação de mundos: um mundo verdadeiro é concebido como condição do mundo aparente . Tendo a vontade de verdade como modus operandi, a metafísica criou mendazmente um mundo fixo e imutável para justificar o fluxo proveniente do vir-a-ser. Isso acarreta, segundo a visão nietzschiana, a negação da efetividade, pois, ao privilegiar o mundo verdadeiro, nega-se o mundo aparente, único âmbito no qual o fenômeno vida é possível. Com a concepção do eterno retorno do mesmo, Nietzsche atinge um pensamento sem dualidades metafísicas, superando também a dicotomia instante/eternidade. Para a tradição metafísica, a eternidade sempre foi transcendente ao instante, com o eterno retorno, eternidade e instante passam a ser equivalentes, ou seja, o instante é concebido como eterno. E, para atingir a afirmação suprema do eterno retorno, Nietzsche dispõe da noção de amor fati como sendo a grande fórmula para o Sim, ou seja, da afirmação irrestrita tanto da alegria e do prazer, quanto da dor e do sofrimento. Neste sentido, podemos compreender a filosofia dionisíaca, proposta por Nietzsche em seus últimos escritos, enquanto supressão total da metafísica e pathos afirmativo por excelência.

L’objet de ce travail est d’éclairer l’esthétique et l’éthique de la poétique de Francis Ponge à partir de la notion de Nature. La première partie étudie la notion de Nature chez Ponge en tant que monde extérieur et son matérialisme qui, fortement influencé par le matérialisme antique, est caractérisé par l’antimétaphysique. Cette partie met également en relief le rapport étroit entre sa pensée matérialiste et la pensée immanente spinoziste, résumée dans l’expression de « Dieu ou la Nature ». Les aspects immanents des choses dans ses œuvres peuvent être mieux saisis, en effet, à l’aide de la notion d’« immanence » spinoziste. La deuxième partie explore, quant à elle, la relation entre la Nature et la littérature et le développement d’un nouveau lyrisme matérialiste chez Ponge. Pour lui, la littérature se naturalise et la Nature se littérarise. Son approbation de la Nature se traduit par sa contresignature apposée aux choses.Son nouveau lyrisme matérialiste, qui s’oppose au lyrisme traditionnel, se caractérise autour de notions telles que la vibration, l’aspiration, ou la « réson ». La troisième partie, enfin, examine le nouvel humanisme de Ponge ainsi que son éthique.La relation entre la Nature et l’homme s’articulera autour de thèmes éthiques essentiels comme l’altérité, le nouvel humanisme et le salut de l’homme. Son éthique consiste à vivre heureux. Nous l’aborderons à travers différents thèmes tels que la sagesse antique, l’harmonie du « non-soi » et du « soi », l’éthique de la joie, le hasard et la liberté. / The purpose of this study is to examine the aesthetics and the ethics of Francis Ponge’s poetry through the notion of Nature. The first part examines the concept of Nature in Ponge as the outside world and his materialism which, heavily influenced by ancient materialism, is characterized by the anti-metaphysical. This part also explore the close relationship between his idea and Spinoza’s immanent idea, summarized in the expression of "God, or Nature". The immanent aspects of things in his work can be fully understood with the help of the concept of "immanence" of Spinoza. The second part examines the relationship between Nature and literature and the development of Ponge’s new materialist lyricism. For him, literature becomes naturalized and nature becomes literarized. The approval of nature is reflected in his countersignature for things. His new materialist lyricism, contrasted with the traditional lyricism, is characterized by notions such as vibration, aspiration, "réson". The third part will focus on the new humanism and the ethics of Ponge. The relationship between Nature and man will be treated primarily on certain essential themes of ethics such as otherness, the new humanism and the salvation of man. His ethics is to live à happy life. Various topics, such as ancient wisdom, the harmony of the "non-self" and the "self", the ethics of joy, chance and freedom, will be discussed.

In the first chapter of my doctoral thesis, entitled The Political Implications of Nietzsche's Perspectivism, I argue that due to conflicting passages present throughout his oeuvre, Nietzsche is best understood as a twofold metaphysical sceptic. That is, a sceptic about the existence of the external world, and consequently, as a sceptic about such a world's correspondence to our perspectives. Nietzsche presents a threefold conceptualization of 'nihilism' and a twofold one of the 'will to power.' Neutral nihilism is humanity's inescapable condition of having no non-humanly created meanings and values. This state can be interpreted positively as an opportunity to create one's own meanings and values, or negatively as a terrifying incentive to return to dogmatism. The will to power is life before and as it becomes life, the unqualified will to power, and all the realities in it, the qualifiable will to power. The combination of these ontological concepts brings me to my second chapter and to the determination of Nietzsche's general epistemology: perspectivism. Perspectivism is an admittedly created, ontologically derived interpretation of knowledge, which both entails and goes beyond relativism. Nietzsche's perspectivism is constructed to support any norm that allows for univocal evaluations, not just Nietzsche's. Moreover, it can be derived from any ontology that conceptualizes life as a unit of growth and decay and human beings as creators of all their perspectives. These two elastic concepts allow me to propose, in my third chapter, that, although his texts disavow an all-inclusive democracy in favour of a new spiritual aristocracy, on the one hand, the proper political implications of perspectivism allow for democracy, while on the other hand, Nietzsche can be read as disapproving of an all inclusive or representative democracy, yet as approving of the direct democracy that arises naturally among elite peers.