By Paul Bishop

This quantity collects a wide-ranging set of essays analyzing Friedrich Nietzsche's engagement with antiquity in all its facets. It investigates Nietzsche's response and reaction to the concept that of "classicism," with specific connection with his paintings on Greek tradition as a philologist in Basel and later as a thinker of modernity, and to his reception of German classicism in all his texts. The e-book could be of curiosity to scholars of historic background and classics, philosophy, comparative literature, and Germanistik. Taken jointly, those papers recommend that classicism is either a extra major, and a extra contested, suggestion for Nietzsche than is usually learned, and it demonstrates the necessity for a go back to a detailed cognizance to the intellectual-historical context by way of which Nietzsche observed himself working. An know-how of the wealthy number of educational backgrounds, methodologies, and strategies of interpreting evinced in those chapters could be the single means for the modern student to return to grips with what classicism intended for Nietzsche, and therefore what Nietzsche capacity for us this day. The ebook is split into 5 sections -- The Classical Greeks; Pre-Socratics and Pythagoreans, Cynics and Stoics; Nietzsche and the Platonic culture; Contestations; and German Classicism -- and constitutes the 1st significant research of Nietzsche and the classical culture in 1 / 4 of a century. members: Jessica N. Berry, Benjamin Biebuyck, Danny Praet and Isabelle Vanden Poel, Paul Bishop, R. Bracht Branham, Thomas Brobjer, David Campbell, Alan Cardew, Roy Elveton, Christian Emden, Simon Gillham, John Hamilton, Mark Hammond, Albert Henrichs, Dirk t.D. Held, David F. Horkott, Dylan Jaggard, Fiona Jenkins, Anthony ok. Jensen, Laurence Lampert, Nicholas Martin, Thomas A. Meyer, Burkhard Meyer-Sickendiek, John S. Moore, Neville Morley, David N. McNeill, James I. Porter, Martin A. Ruehl, Herman Siemens, Barry Stocker, Friedrich Ulfers and Mark Daniel Cohen, and Peter Yates. Paul Bishop is William Jacks Chair of recent Languages on the collage of Glasgow.

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Nietzsche had interlarded his eulogy on Greek slavery with polemical assaults on socialism and its— in his eyes—preposterous insistence at the “dignity of labor. ” He categorised the socialists “accursed tempters,” simply because that they had, as he placed it, “destroyed the prelapsarian innocence of the slaves by way of handing them the fruit of the tree of data” (KSA 1, 765-66). As proof-reader of 23 Wagner’s memoirs and copyist of the 1848 Ur-text of Siegfried, Nietzsche used to be, in fact, good conscious of the composer’s early anarchosocialist leanings, his indebtedness, because the Paris years (1839-1842) to the concept of Saint-Simon, Fourier, and particularly Proudhon, his participation within the Dresden riots of 1849, and his lasting friendship with the unconventional democrat and progressive August Röckel. during this appreciate, too, Wagner’s pondering was once characterised by way of a far greater measure of 86 ♦ MARTIN A. RUEHL continuity than a few of his extra conservative biographers, reminiscent of Curt 24 von Westernhagen, may permit. regardless of numerous respectable retractions, specially for the sake of his royal client Ludwig II, Wagner remained devoted to the fundamentals of his early innovative proposal, specifically the 25 perfect of a non-oppressive, non-exploitative society. His early Rousseauian suggestion, first expressed in “The art of the Future,” that “we 26 are all people and as a result equal,” nonetheless permeated the later, the 27 so-called “Regenerational Writings” of the early Eighteen Eighties. the hoop, began in 1848 and accomplished in 1874, stands as a robust testimony to his carrying on with anti-capitalist stance. The Festspiele at Bayreuth have been conceived in the same spirit: as renowned gala's, “Volksfeste”; and the 28 “Volk” Wagner outlined as “all those that event worry [Noth]. ” The proletariat, for him, obviously belonged to the alienated lots that have been to be redeemed via the Gesamtkunstwerk. Nietzsche’s “Greek State,” in contrast, explicitly denounced the egalitarian rules of the French Enlightenment and the French Revolution as “completely un-Germanic” and “Romanically flat” (KSA 1, 773). as a substitute, it known as for a radicalized type of capitalist exploitation, that's, a capitalism with no the comforting rhetoric of “human rights. ” on account that he depicted the slaves as quasi-ontologically varied from the masters/artists, there has been no sense—even notwithstanding Nietzsche didn't spell it out—that the previous may whatsoever make the most of, not to mention perform, the cultural productions of the latter. certainly, as subjective brokers, the slaves mattered basically insofar as they posed a hazard to the creative achievements of that “small variety of Olympian men”: “If tradition have been left to the discretion of the people,” Nietzsche speculated, the outcome will be “iconoclastic destruction”—“the cry of pity” of the oppressed plenty, as he positioned it, could “tear down the partitions of tradition” (KSA 1, 768). With this final photo, Nietzsche used to be most likely alluding to the emerging of the Paris Commune, an occasion that strikingly delivered to the fore the po29 litical adjustments among himself and Wagner.

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