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The Birth of Tragedy Out of the Spirit of Music (German: Die Geburt der Tragödie aus dem Geiste der Musik) is an 1872 work of dramatic theory by the German philosopher Friedrich Nietzsche. It was reissued in 1886 as The Birth of Tragedy, Or: Hellenism and Pessimism (German: Die Geburt der Tragödie, Oder: Griechentum und Pessimismus).
Here Foucault referenced Nietzsche's description of the birth and death of tragedy and his explanation that the subsequent tragedy of the Western world was the refusal of the tragic and, with that, refusal of the sacred. [144] Painter Mark Rothko was influenced by Nietzsche's view of tragedy presented in The Birth of Tragedy.
The Birth of Tragedy & the Genealogy of Morals, translated by Francis Golffing, Anchor Books, 1956, ISBN 0-385-09210-5 On The Genealogy of Morals and Ecce Homo , translated and edited by Walter Kaufmann (translation of On the Genealogy in collaboration with R. J. Hollingdale ), New York: Vintage, 1967; this version also included in Basic ...
The Apollonian and the Dionysian are philosophical and literary concepts represented by a duality between the figures of Apollo and Dionysus from Greek mythology.Its popularization is widely attributed to the work The Birth of Tragedy by Friedrich Nietzsche, though the terms had already been in use prior to this, [1] such as in the writings of poet Friedrich Hölderlin, historian Johann ...
in: 'Basic Writings of Nietzsche', trans. Walter Kaufmann, Modern Library, 2000, ISBN 0-679-78339-3 in: 'The Birth of Tragedy and Other Writings', trans. Ronald Speirs, Cambridge University Press, 1999, ISBN 0-521-63987-5 (also contains: 'The Dionysiac World View' and 'On Truth and Lying in a Non-Moral Sense')
Nietzsche here began to discuss the limitations of empirical knowledge, and presented what would appear compressed in later aphorisms. It combines the naivete of The Birth of Tragedy with the beginnings of his more mature polemical style. It was Nietzsche's most humorous work, especially for the essay "David Strauss: the confessor and the writer."
Nietzsche continues, and then adds that Wagner's music has revealed "some very minute and microscopic aspects of the soul … indeed he is the master of the very minute. But he does not want to be that!" Nietzsche suggests with a metaphor that Wagner prefers to create large works: "His character prefers large walls and audacious frescoes." [8] [9]
The theme of the aesthetic justification of existence Nietzsche introduced from his earliest writings, in "The Birth of Tragedy" declaring sublime art as the only metaphysical consolation of existence; and in the context of fascism and Nazism, the Nietzschean aestheticization of politics void of morality and ordered by caste hierarchy in ...