Nietzsche's 'The Birth of Tragedy' A Reader's Guide

by Burnham, Douglas; Jesinghausen, Martin

• ISBN13: 9781847065858
• ISBN10: 1847065856
• Format: Paperback
• Copyright: 2010-05-20
• Publisher: Bloomsbury Academic

Summary

Introduction to one of Nietzsche's most important works - a key text in nineteenth-century philosophy.

Author Biography

Douglas Burnham is Professor of Philosophy at Staffordshire University, UK. His previous publications include Kant's Philosophies of Judgement (Edinburgh UP, 2004), Reading Nietzsche (Acumen, 2007) and Kant's Critique of Pure Reason (Edinburgh UP, 2007).
Martin Jesinghausen is Senior Lecturer in English at Staffordshire University, UK. He has published in the areas of Cultural and Art History, Critical and Literary Theory, and Film.

Table of Contents

Introduction	p. 1
Context	p. 4
Overview of Themes	p. 9
Reading the Text	p. 14
'An Attempt at Self-Criticism'	p. 14
Foreword: Art, Wagner and War	p. 24
The Apolline and Dionysiac as Art-Drives and 'Living Concepts'; Envisaging a New Science of Aesthetics. Note: Nietzsche and Darwin	p. 27
The Drives at Work in Pre-Socratic Greece; Three Types of Symbolization; Psychogenesis of the Dionysian in Asia and in Greek Culture	p. 45
The Origins of 'Genealogy': Psychogenesis of the Apollonian in the Greek 'Character'. Note: Nietzsche, German 'Hellenism' and Hölderlin	p. 50
Necessity of Relationship between the Drives: their 'Reciprocal Intensification'; the 'Ethics' of the Drives; the Five Periods of Greek Culture; Introduction of 'Attic Tragedy'	p. 58
Historical Manifestation of the 'Third Type' of Symbolization: Archilochus, the 'Father' of Tragedy; The Fusion of the Drives in Lyric Poetry	p. 61
Folk Song; Fusion of Language and Music	p. 65
The Chorus as Historical Nucleus of Tragedy; Nietzsche's Critique of Hegel	p. 68
The Chorus as Earliest Cell of Tragedy; Modern Poetry and Theory of Language. Note: Philosophy of Language in Nietzsche	p. 73
The Double Meaning of Sophoclean and Aeschylean Tragedy	p. 80
The Revival of Myth in Tragedy as its Death Throes: The End of the Mythological Age and the Dawning Age of Logic	p. 85
Euripides as Critic rather than Poet	p. 88
The Misunderstanding and Repression of the Art-Drives	p. 90
Socrates - The Axis of Cultural History	p. 93
Death of Tragedy; Birth of Modern Art	p. 97
Science as a Deficient Mode of Art; Socrates at the Gates of Modernity	p. 102
Aesthetics of Modern Music Drama. Note: Nietzsche, Music and Style	p. 107
Death of Myth as the Death of Tragedy	p. 114
The Crisis of Socratic Modernity. Note: on 'Bildung'	p. 116
Naïve and Sentimental; Early Opera-Mismatch of Ingredient Elements	p. 124
German Education; Revolutionary Epiphany	p. 130
Modern Opera - Wagner's Tristan and Isolde as Aesthetic Paradigm	p. 132
The Aesthetic Listener	p. 141
The Still Untroubled Unity of the German Spirit	p. 144
Justification of the World as Aesthetic Phenomenon Radicalised - Theory of Musical Dissonance	p. 147
The Study of Dissonant Man	p. 151
Reception and Influence	p. 154
Study Questions	p. 161
Notes	p. 163
Further Reading	p. 181
Index	p. 191
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