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Nietzsche And Socratism Analysis

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In the previous section we saw that, according to Wagner, true art comes as an expression of life at its fullest. Accordingly, this is possible only if certain conditions are met: not just any form-of-life is capable of producing true art, insofar as we do not necessarily express existence in its full potential . In this, Wagner is influenced by Schopenhauer, expecially as he conceives art as the product of our Anschaungsvermögen. This concept designates both the human drive to create art, as well as the intuitive faculty that allows us to grasp the metaphysical Ur-eine . An existence capable of producing true art is one which cultivates and exercises this faculty. Nietzsche himself agrees with this view, although he eventually sides with …show more content…

In this respect, morality and Socratism are the expressions of a vital drive analogous to those which give birth to the figures of Apollo and Dionysus, as they are both connected to the metaphysical inquiry into the nature of things. Still, the Socratic worldview fails in seeing its dependency and connections to these drives, and thus fails to see its connection to life and its irrational kernel . According to Nietzsche, this mindset is the result of a pathology, as it gives too much merit to appearances while it excludes the Will from its view, making the former absolute and arranging them in a rational but insincere way. Socratism is then made of the same substance of the drives which inspire tragedy insofar as it is an expression of life, but, in both a literal and a metaphysical sense, it is the result of a sick form of this substance – it presents a metaphysical view of reality, just like art, but at the same time causes life to retreat within the safe walls of reasonableness, as by contrast art pushes the person to transcend them .
In some respect, we can see here one of the seeds of Nietzsche’s later intuitions, and I believe there is no harm in employing them to elucidate this point. For example, in Beyond Good and Evil (from here on BGE), morality is described as a perspective which produces a narrowing of one’s own horizon. Morality, far from telling the truth about the world, is simply an expression of good faith toward the moral view of a particular group. Therefore, all that moralists do is in fact to argue in favour of a perspective which is grounded on their own prejudice and seeks secretly to confirm them

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How does Nietzsche’s encouragement of skepticism reflect the relationship between truth and religion? How does his argument about the truth relate to yours? Beyond Good and Evil explores the relationship between faith and philosophy, while also considering the implications of believing in truth. By arguing for enlightened philosophers to condemn Christianity, Nietzsche claims that believing in anything is deceiving one’s self. He acknowledges the benefits of Christianity in providing order for the common people and for giving them faith in something they could not disprove.

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In Genealogy of Morals, Nietzsche first opens up by claiming his dissatisfaction of previous philosopher’s attempts of describing morality. Nietzsche claims that the idea of morality of being of no value is simply wrong; as people with higher morality are often worth more than people with low morality. He also goes on the explain the people of the lowest morality are priests- as they have created the most hate in the world. He then goes to say “Priests make everything more dangerous, not just medicaments and healing arts but pride, revenge, acumen, debauchery, love, lust for power, virtue, sickness” (16). Since different religions have different Gods who have different stances and moral on life, these beliefs cause a division between humans.

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Can we ever defeat the dragon call helplessness, or do we need it to be the driving force that leads us to achieve that thing called perfection. Why does helplessness thrive within us especially when it comes to the artistic form and the creative process, “writings schriften” written by Agnes Martin details the feeling in the creative process that goes into the fear of failure and the strive for perfection, as well as the despair that goes into achieving perfection for artist and the helplessness that hunts them and keens in on their obsessions of the creative precision one will try to accomplish. Agnes discusses the fear of failure and what’s needed to overcome it, she describes the perception of the reality that come with achieving perfection

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In a deflection from his goal during his defense trial, Socrates conjectures: Perhaps, then, someone might say, “Then are you not ashamed, Socrates, of having followed the sort of pursuit from which you now run the risk of dying?” (28b3–5). This essay aims at explaining, based on Plato's Apology (28b - 30c), why philosophy is a way of life that puts the traditional moral beliefs of a political society into question and exploring the new principles that justify a life worth living. First, this paper attempts to illustrate the common moral beliefs of the Athenian aristocracy; second, to establish Socrates' pursuit; and third, to elucidate those principles that support a meriting life. It appears that the Greek term aretê, most commonly and

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The large scale destruction and oppression of art has in some sense allowed for artistic creation to blossom. Pieces such as Messaien’s Quartet for the End of Time and Strauss’ Metamorphosen were created and inspired by great tragedy and frustration caused by Hitler’s Third Reich. In spite of this there is no denying the fact that many artists were silenced during this period, a numerous amount were killed along with the other 11 million victims during the Holocaust. Others despondently lived in fear, intimidated into not disobeying strict regimes. Regardless of their unavoidable life changing fate, each musician made a choice which shaped

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As these numbers indicate a low society that is in need of help thanks to the influence of Nietzschean thought. Friedrich Wilhelm Nietzsche was a German philosopher, cultural critic, poet, and Latin and Greek scholar whose work has shook the foundations of Christianity and traditional morality by way of the proposal of the Übermensch, the last man, eternal recurrence, and the will to power. First, the Übermensch, a German word translated variously as, “Overman,” “Superman, “ or “Super-human”. In his work Thus Spoke Zarathustra Nietzsche introduced the concept of a value-creating Übermensch who rises above the masses to in devoid of anything. The overman is the solution to a problem that humanity is not yet aware of.

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Another thing Socrates is famous for is his twisting of nature in a paradoxical way to serve his own desire to persuade: to Socrates, virtue, wisdom, and eudaemonia are directly linked, a recurring idea in many of his dialogues. His definition of happiness and morality is far different from anyone else’s, especially from Callicles’ and Nietzsche who believes that the law of nature takes over (also perceived this way by Nietzsche). E.R. Dodds mentions the idea that Nietzsche finds a reflexion of himself in Callicles, ascetic Socrates’ most interesting interlocutor in the “Gorgias”. Interesting in the fact that Callicles appears to be a purely hedonistic personage, whose definition of a good life is one where all pleasures of the body are maximised,

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Nietzsche was a German Philosopher who wrote a book called Twilight of the Idols. I will be taking some of his main points from his story and giving my standpoint on them. In my paper I will be explaining Nietzsche's morality as an anti-nature and his four great errors of human nature. The four great errors include confusing cause and consequence, false causality, imaginary causes, and free will. Nietzsche believed that philosophy should be about jumping from one extreme to another extreme and that it should make you angry and ask questions.

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Richard Taylor, an ethicist said, “Contemporary writers in ethics, who blithely discourse upon moral right and wrong and moral obligation without any reference to religion, are truly just weaving intellectual webs from thin air; which amounts to saying that they discourse without meaning (Ethics, Faith, and Reason 7).” Does this effect that religion is the only way to explain morality? Friedrich Nietzsche would argue that morality itself wasn’t necessary. Mere Cardus said, “Envy is – Nietzsche recognized – an essential part of life. Yet the lingering effects of Christianity generally teach to feel ashamed of our envious feelings.

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In the society in which Socrates lives in, the people’s moral values and thinking is dominated by the predisposition of the existence of the Greek gods. Greek gods have strong personalities and are each driven by different interest, so it is extremely difficult to please all

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Within this complex and extensive essay, Wagner continues from his last point in Art and Revolution. He starts off by explaining that Nature is to Man, what Man is to Art. He explains this to be that once the first has evolved itself to its full potential, the latter shall find its own self. Wagner then states that because Man has not reached his full potential, neither has Art and much like the point made in Art and Revolution; we have not yet reached True Art. Wagner also makes several links to the Grecian Theatre again in order to reiterate his point of Drama being the truest of Artworks, which, once again, can be explained by his extensive

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The unifying fatal mistake made by most theories, Weitz suggests, is that they fail to recognize art as an open concept—open in the sense of being “perennially flexible”—without any necessary or sufficient conditions surrounding it. Art and its subconcepts cannot be accurately or wholly defined because their criteria must allow for the incorporation of new principles into their folds, and such newly developed principles would make the act of attempting to define their conditions betrayals of the concepts they serve as criteria for in the first place. Weitz further elucidates that although art and its subconcepts are employed for the description and evaluation of works, and those descriptions and evaluations themselves depend upon sets of criteria, that does not make such criteria necessary or sufficient. That these concepts may be used to describe and evaluate works is contingent to their integration of new cases with new properties, thus expanding the concepts

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