Abstract
ABSTRACT This article argues that Nietzsche's Birth of Tragedy is an attempt to forge a mode of discourse that draws equally upon the resources of tragic drama, opera, and philosophy, and thereby attempts to disclose their internal relatedness, in order both to exemplify and to enable the attainment of a nonelitist species of perfectionism—one that has both an individual and a cultural dimension (with the latter finding expression in a willingness to question and reconfigure existing boundaries between the moral, the political, and the aesthetic domains, among others). The article thereby contributes to an interpretative tradition initiated in recent work by James Conant and Stanley Cavell, by extending its range of textual application.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.