What do you think?
Rate this book
Nietzsche #1
Νίτσε: Η βούληση για Ισχύ ως τέχνη
Part of a series of lectures, this work analyzes the philosophy of Heidegger as well as Nietzsche
- GenresPhilosophyNonfiction
382 pages, Paperback
First published October 27, 1971
5 people are currently reading
151 people want to read
About the author
Martin Heidegger
515 books3,228 followersMartin Heidegger (1889-1976) was a German philosopher whose work is perhaps most readily associated with phenomenology and existentialism, although his thinking should be identified as part of such philosophical movements only with extreme care and qualification. His ideas have exerted a seminal influence on the development of contemporary European philosophy. They have also had an impact far beyond philosophy, for example in architectural theory (see e.g., Sharr 2007), literary criticism (see e.g., Ziarek 1989), theology (see e.g., Caputo 1993), psychotherapy (see e.g., Binswanger 1943/1964, Guignon 1993) and cognitive science (see e.g., Dreyfus 1992, 2008; Wheeler 2005; Kiverstein and Wheeler forthcoming).
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 5 of 5 reviews
April 7, 2020
Η βούληση για ισχύ ως θεμελιώδης αξία του είναι, και του όντος εν γένει λοιπόν. Στο παρόν βιβλίο, ο heidegger αποδομεί την διττή διαβόητη έννοια του Νίτσε, "βούληση για ισχύ". Αν και πρωτοπόρος σε σχέση με τους προγενέστερους του ο Νίτσε, στον πυρήνα του, το φιλοσοφικό του αίμα, αν και εμβαπτισμένο με την διάσημη ποιητική χροιά του, στρέφεται προς την θεμελιώδη ερώτηση όλων των μεγάλων προκατόχων του, αλλά και της δυτικής φιλοσοφίας σαν ολότητα, "Τι είναι το όν;", "Τι ονομάζουμε είναι;". Σκοπός του Νίτσε ήταν όχι να καταστρέψει, αλλά να επαναξιολογήσει, να επανατοποθετήσει τις αξίες του όντος με βάση την φυσιολογία του Είναι ως μια πιο βιολογική προσέγγιση. Να γίνει το ον αυτό που είναι. Και τολμηρά, εκεί που κάτω υπό τα φώτα του ιδεαλισμού το είναι είχε τη μορφή του αέναου-αεικίνητου θεού, ο Νίτσε με το σφυρί στο χέρι επανατοποθετέι το είναι ως έννοια, εμπερικλέιοντας μέσα του την ουσία του Γίγνεσθαι. Το Είναι, είναι γίγνεσθαι λοιπόν, και το Γίγνεσθαι είναι το αιώνιο Είναι. "Ανακεφαλαιώνοντας, σκοπός μας είναι να εγχαράξουμε στο γίγνεσθαι την ουσία του είναι". Εδώ όμως τα πράγματα είναι που μπλέκονται ακόμα περισσότερο, καθώς η ρήση περί "Αιώνιας επιστροφής" έρχεται να ανατρέψει ολόκληρο αυτόν τον Ηρακλείτειο Ρου. Πως σχετίζεται η "Αιώνια επιστροφή του Ομοίου" με μια μόνιμη μετουσίωση σε κάτι καινούργιο; Είναι η αιώνια επιστροφή του όντος στις πρωταρχικές αξίες-νόμους που διέπουν την ύπαρξη του, μας λέει ο Heidegger. Η αιώνια επιστροφή του γίγνεσθαι στο είναι και τούμπαλιν.
Συνεχίζοντας, ψηλαφώντας μία μία στο ποιητικό σκοτάδι του, τις αοριστίες του Νίτσε, ο Heidegger εξετάζει την ανατομία της βούλησης για ισχύ per se, ελέγχοντας που και πότε είναι πιο ισχυρή. Αρχικά όμως δίνει τον ορισμό της βούλησης καθ αυτής. Η βούληση λοιπόν είναι το πάθος, με την έννοια της μονιμότητας αλλά και της μεγαλοσύνης που εξυψώνει το πνεύμα πάνω απ τους νόμους των θεών και των δαιμόνων και το οδηγεί στην υπέρβαση του. Η βούληση είναι μια επιβολή του είναι, μια εγχάραξη του στον κόσμο, σαν ένα καταύγασμα φωτός σε μια άβυσσο λυσσαλέα. Πού και πότε όμως είναι τούτη η βούληση για συνέχιση του είναι πιο ισχυρή; Η απάντηση είναι μία: Η τέχνη. Τέχνη με την γενική έννοια, νοείται ως η πράξη δημιουργίας, πολλαπλασιασμού, παραγωγής-γίγνεσθαι-ενώ με την υψηλότερη της έννοια, νοείται ως η ικανότητα μέσω της μέθης, να εξεγείρεται το είναι μας σε τέτοιο βαθμό, που μόνο και μόνο η ίδια του η ύπαρξη αποτελεί μια πράξη ανυποταγής στους φυσικούς νόμους. Σε αυτήν την στιγμή εκτόνωσης, όπου το Διονυσιακό πάθος εναρμονίζεται με το Απολλώνιο, η βούληση για ισχύ βρίσκεται στον Κολοφώνα της.
Γενικά πολλές παρανοήσεις σχετικά με τον Νίτσε, διασαφηνίζονται με την ακούραστη αυστηρότητα αυτού του ιδιοφυούς ναζιδιού, αλλά ταυτόχρονα πολλές παρανοήσεις του Νίτσε σχετικά με Κάντ μπαίνουν στην θέση τους. Πραγματικά μια ιδιοφυΐα, ίσως ο πιο ισχυρός αναλυτής που υπήρξε, δεν αφήνει τίποτα να πέσει κάτω, φιλτράρει τα πάντα, αλλά το να τον ακολουθήσεις θέλει προσπάθεια και κόπο.
Δε θα πω ψέματα, αυτοί οι Γερμαναράδες σου βγάζουν τον αδόξαστο με το ψείρισμα τους, αλλά σίγουρα είναι μια δύναμη, και ένας λαός, που για μένα αυτήν την περίοδο αποτελεί κάτι το συναρπαστικό. Η ψυχική τους αστάθεια και η σύναψη μιας διαβολικής συμφωνίας με το σκότος υπεγράφη ήδη από τα χρόνια του Γκαίτε, και αργότερα πήρε ύλη και υπόσταση με τον Ρομαντισμό του Βάγκνερ. Τουτέστιν, τα Ράιχ ήταν απλά το κερασάκι στην τούρτα και κάτι αναμενόμενο για εκείνους που πρόσεχαν λίγο τα γεγονότα. Είναι ένας λαός με τεράστια βάθη, και μεγάλα ύψη. Σίγουρα, αξίζει το πρήξιμο και τα ποτήρια ουίσκι που θα οδηγήσουν τον αναγνώστη ένα βήμα πιο κοντά στον αλκοολισμό. Τέσσερα αστέρια για ότι χάθηκε στην μετάφραση λόγω κούρασης.
Συνεχίζοντας, ψηλαφώντας μία μία στο ποιητικό σκοτάδι του, τις αοριστίες του Νίτσε, ο Heidegger εξετάζει την ανατομία της βούλησης για ισχύ per se, ελέγχοντας που και πότε είναι πιο ισχυρή. Αρχικά όμως δίνει τον ορισμό της βούλησης καθ αυτής. Η βούληση λοιπόν είναι το πάθος, με την έννοια της μονιμότητας αλλά και της μεγαλοσύνης που εξυψώνει το πνεύμα πάνω απ τους νόμους των θεών και των δαιμόνων και το οδηγεί στην υπέρβαση του. Η βούληση είναι μια επιβολή του είναι, μια εγχάραξη του στον κόσμο, σαν ένα καταύγασμα φωτός σε μια άβυσσο λυσσαλέα. Πού και πότε όμως είναι τούτη η βούληση για συνέχιση του είναι πιο ισχυρή; Η απάντηση είναι μία: Η τέχνη. Τέχνη με την γενική έννοια, νοείται ως η πράξη δημιουργίας, πολλαπλασιασμού, παραγωγής-γίγνεσθαι-ενώ με την υψηλότερη της έννοια, νοείται ως η ικανότητα μέσω της μέθης, να εξεγείρεται το είναι μας σε τέτοιο βαθμό, που μόνο και μόνο η ίδια του η ύπαρξη αποτελεί μια πράξη ανυποταγής στους φυσικούς νόμους. Σε αυτήν την στιγμή εκτόνωσης, όπου το Διονυσιακό πάθος εναρμονίζεται με το Απολλώνιο, η βούληση για ισχύ βρίσκεται στον Κολοφώνα της.
Γενικά πολλές παρανοήσεις σχετικά με τον Νίτσε, διασαφηνίζονται με την ακούραστη αυστηρότητα αυτού του ιδιοφυούς ναζιδιού, αλλά ταυτόχρονα πολλές παρανοήσεις του Νίτσε σχετικά με Κάντ μπαίνουν στην θέση τους. Πραγματικά μια ιδιοφυΐα, ίσως ο πιο ισχυρός αναλυτής που υπήρξε, δεν αφήνει τίποτα να πέσει κάτω, φιλτράρει τα πάντα, αλλά το να τον ακολουθήσεις θέλει προσπάθεια και κόπο.
Δε θα πω ψέματα, αυτοί οι Γερμαναράδες σου βγάζουν τον αδόξαστο με το ψείρισμα τους, αλλά σίγουρα είναι μια δύναμη, και ένας λαός, που για μένα αυτήν την περίοδο αποτελεί κάτι το συναρπαστικό. Η ψυχική τους αστάθεια και η σύναψη μιας διαβολικής συμφωνίας με το σκότος υπεγράφη ήδη από τα χρόνια του Γκαίτε, και αργότερα πήρε ύλη και υπόσταση με τον Ρομαντισμό του Βάγκνερ. Τουτέστιν, τα Ράιχ ήταν απλά το κερασάκι στην τούρτα και κάτι αναμενόμενο για εκείνους που πρόσεχαν λίγο τα γεγονότα. Είναι ένας λαός με τεράστια βάθη, και μεγάλα ύψη. Σίγουρα, αξίζει το πρήξιμο και τα ποτήρια ουίσκι που θα οδηγήσουν τον αναγνώστη ένα βήμα πιο κοντά στον αλκοολισμό. Τέσσερα αστέρια για ότι χάθηκε στην μετάφραση λόγω κούρασης.
September 15, 2023
li o “a verdade de poder como conhecimento”
July 5, 2018
Heidegger
Art -> Beautiful (biological values) -> Rapture -> Ascent beyond ourselves to the full of our essential capability.
Art in the grand style is the simple tranquility resulting from the protective mastery of the supreme plenitude of life. To it belongs the original liberation of life, but one which is restrained; to it belongs the most terrific opposition, but in the unity of the simple; to it belongs fullness of growth, but with the long endurance of rare things. Where art is to be grasped in its supreme form, in terms of the grand style, we must reach back into the most original states of embodying life, into physiology. Art as a countermovement to nihilism and art as state of rapture, as object of physiology (“physics” in the broadest sense) and as object of metaphysics - these aspects of art include rather than exclude one another. The unity of such antitheses, grasped in its entire essential fullness, provides an insight into what Nietzsche himself knew - and that means willed - concerning art, its essence and essential determination.
“fatally contemporary in Nietzsche”.
Der grosse Stil ist der aktive Wille zum Sein, soso zwar, dass dieser das Werden in sich aufhebt.
The grand style is the active will to Being, which takes up Becoming into itself.
The active and reactive are conjoined in the essence of motion: μεταβολη, κινεσισ
—> δυναμισ και ενεργεια
Genuine power does not yet prevail where it must simply hold its position in response to the threat of something that has not yet been neutralised. Power prevails only where the simplicity of calm dominates, by which the antithetical is preserved i.e. transfigured, in the unity of a yoke that sustains the tension of a bow.
It advances from rapture, as the basic aesthetic mood, to beauty, as attuning; from beauty, as the standard-giver, back to what takes its measure from beauty, to creation and reception; from these, in turn, over to that in which and as which the attuning is portrayed, to form. Finally, we tried to grasp the unity of the reciprocal relation of rapture and beauty, of creation, reception, and form, as the grand style. In the grand style the essence of art becomes actual.
1 Art is the most perspicuous and familiar configuration of will to power.
2 Art must be grasped in terms of the artist.
3 According to the expanded concept of artist, art is the basic occurrence of all beings; to the extent that they are, beings that are self-creating, created;
4 Art is the distinctive countermovement to nihilism.
5 Art is worth more than truth.
With the question of the essence of Being, we are no inquiring in such a way that nothing remains outside the question, not even nothingness. Therefore the question of what Being in truth is must be at the same time to ask what the truth in which Being is to be illumined in itself. Truth stands with Being in the realm of the grounding question, not because the possibility of truth is cast in doubt epistemologically, but because it already belongs to the essence of the grounding question in a distinctive sense, as its “space”.
—> αληθεια
Against Analytic Philosophy:
“To relegate the animated, vigorous word to the immobility of a univocal, mechanically programmed sequence of signs would mean the death of language and the petrification and devastation of Dasein … When Goethe or Hegel says the word “education”, and when an educated man of the 1890s says it, not only is the formal content of the utterance different, but the kind of world encapsulated in the saying is different, though not unrelated. When Goethe says “nature”, and when Hölderlin speaks the same word, different world reigns. Were language no more than a sequence of communicative signs, then it would remain something just as arbitrary and indifferent as the mere choice and application of such signs. But because the very foundations of our being language as resonant signification roots us to our earth and transports and ties us to our world, meditation on language and its historical dominion is always the action that gives shape to Dasein itself”.
Page 149
The true is true being, what is in truth actual - what is in truth known.
3/7/18
The greatness, the profundity, and the excitement of philosophy arises when one recognises our pathetic failures in comprehending it. The great philosophers of the past, and those of the future, are surely the greatest readers.
Philosophy is caught between both its end, and its beginning.
“at as the proper task of life, art as its metaphysical activity”. Will to Power
Art is the most genuine and profound will to semblance, namely, to the scintillation of what transfigures, in which the supreme lawfulness of Casein becomes visible. In contrast, truth is any given fixed apparition that allows life to rest firmly on a particular perspective ant to preserve itself. As such fixation, “truth” is an immobilising of life, and hence its inhibition and dissolution. “We have art so that we do not perish from the truth”.
“If life is always enhancement of life, the ‘will to truth’ is already a symptom of degeneration”.
Heidegger : Art, as transfiguration, is more enhancing to life than truth, as fixation of an apparition.
In order for the real (the living creature) to be real, it must on the one hand ensconce itself within a particular horizon, thus perduring in the illusion of truth. But in order for the real to remain real, it must on the other hand simultaneously transfigure itself by going beyond itself, surpassing itself in the scintillation of what is created in art - and that means it has to advance against truth.
The metaphysical activity of art, receives yet another essential implies the moment we descry the most tremendous event - the death of God of morality. In Nietzsche’ view, existence can now be endured only in creation. Conducting reality to the power of its rule and of its supreme possibilities alone guarantees Being. But creation, as art, is will to semblance, it stands in severance from truth. Art as will to semblance is the supreme configuration of will to power. But the latter, as the basic character of beings, as the essence of reality, is in itself that Being which wills itself by willing to be Becoming. In that way Nietzsche in will to power attempts to think the original unity of the ancient opposition of Being and Becoming. Being, as permanence, is to let Becoming be a Being, The origin of the thought of “eternal recurrence” is thereby indicated.
To see science under the optics of the artist, but art under the optics of life.
See page 219 for explanation.
Art -> Beautiful (biological values) -> Rapture -> Ascent beyond ourselves to the full of our essential capability.
Art in the grand style is the simple tranquility resulting from the protective mastery of the supreme plenitude of life. To it belongs the original liberation of life, but one which is restrained; to it belongs the most terrific opposition, but in the unity of the simple; to it belongs fullness of growth, but with the long endurance of rare things. Where art is to be grasped in its supreme form, in terms of the grand style, we must reach back into the most original states of embodying life, into physiology. Art as a countermovement to nihilism and art as state of rapture, as object of physiology (“physics” in the broadest sense) and as object of metaphysics - these aspects of art include rather than exclude one another. The unity of such antitheses, grasped in its entire essential fullness, provides an insight into what Nietzsche himself knew - and that means willed - concerning art, its essence and essential determination.
“fatally contemporary in Nietzsche”.
Der grosse Stil ist der aktive Wille zum Sein, soso zwar, dass dieser das Werden in sich aufhebt.
The grand style is the active will to Being, which takes up Becoming into itself.
The active and reactive are conjoined in the essence of motion: μεταβολη, κινεσισ
—> δυναμισ και ενεργεια
Genuine power does not yet prevail where it must simply hold its position in response to the threat of something that has not yet been neutralised. Power prevails only where the simplicity of calm dominates, by which the antithetical is preserved i.e. transfigured, in the unity of a yoke that sustains the tension of a bow.
It advances from rapture, as the basic aesthetic mood, to beauty, as attuning; from beauty, as the standard-giver, back to what takes its measure from beauty, to creation and reception; from these, in turn, over to that in which and as which the attuning is portrayed, to form. Finally, we tried to grasp the unity of the reciprocal relation of rapture and beauty, of creation, reception, and form, as the grand style. In the grand style the essence of art becomes actual.
1 Art is the most perspicuous and familiar configuration of will to power.
2 Art must be grasped in terms of the artist.
3 According to the expanded concept of artist, art is the basic occurrence of all beings; to the extent that they are, beings that are self-creating, created;
4 Art is the distinctive countermovement to nihilism.
5 Art is worth more than truth.
With the question of the essence of Being, we are no inquiring in such a way that nothing remains outside the question, not even nothingness. Therefore the question of what Being in truth is must be at the same time to ask what the truth in which Being is to be illumined in itself. Truth stands with Being in the realm of the grounding question, not because the possibility of truth is cast in doubt epistemologically, but because it already belongs to the essence of the grounding question in a distinctive sense, as its “space”.
—> αληθεια
Against Analytic Philosophy:
“To relegate the animated, vigorous word to the immobility of a univocal, mechanically programmed sequence of signs would mean the death of language and the petrification and devastation of Dasein … When Goethe or Hegel says the word “education”, and when an educated man of the 1890s says it, not only is the formal content of the utterance different, but the kind of world encapsulated in the saying is different, though not unrelated. When Goethe says “nature”, and when Hölderlin speaks the same word, different world reigns. Were language no more than a sequence of communicative signs, then it would remain something just as arbitrary and indifferent as the mere choice and application of such signs. But because the very foundations of our being language as resonant signification roots us to our earth and transports and ties us to our world, meditation on language and its historical dominion is always the action that gives shape to Dasein itself”.
Page 149
The true is true being, what is in truth actual - what is in truth known.
3/7/18
The greatness, the profundity, and the excitement of philosophy arises when one recognises our pathetic failures in comprehending it. The great philosophers of the past, and those of the future, are surely the greatest readers.
Philosophy is caught between both its end, and its beginning.
“at as the proper task of life, art as its metaphysical activity”. Will to Power
Art is the most genuine and profound will to semblance, namely, to the scintillation of what transfigures, in which the supreme lawfulness of Casein becomes visible. In contrast, truth is any given fixed apparition that allows life to rest firmly on a particular perspective ant to preserve itself. As such fixation, “truth” is an immobilising of life, and hence its inhibition and dissolution. “We have art so that we do not perish from the truth”.
“If life is always enhancement of life, the ‘will to truth’ is already a symptom of degeneration”.
Heidegger : Art, as transfiguration, is more enhancing to life than truth, as fixation of an apparition.
In order for the real (the living creature) to be real, it must on the one hand ensconce itself within a particular horizon, thus perduring in the illusion of truth. But in order for the real to remain real, it must on the other hand simultaneously transfigure itself by going beyond itself, surpassing itself in the scintillation of what is created in art - and that means it has to advance against truth.
The metaphysical activity of art, receives yet another essential implies the moment we descry the most tremendous event - the death of God of morality. In Nietzsche’ view, existence can now be endured only in creation. Conducting reality to the power of its rule and of its supreme possibilities alone guarantees Being. But creation, as art, is will to semblance, it stands in severance from truth. Art as will to semblance is the supreme configuration of will to power. But the latter, as the basic character of beings, as the essence of reality, is in itself that Being which wills itself by willing to be Becoming. In that way Nietzsche in will to power attempts to think the original unity of the ancient opposition of Being and Becoming. Being, as permanence, is to let Becoming be a Being, The origin of the thought of “eternal recurrence” is thereby indicated.
To see science under the optics of the artist, but art under the optics of life.
See page 219 for explanation.
Read
January 19, 2022Na het lezen van dit boekje kan ik niet echt een smaenvatting geven van de filosofie van Nietzsche. Alhoewel prettig geschreven was het vaak maar beperkt navolgbaar. Ik vermoed dat dat weinig met de kwaliteiten van auteur Michael Tanner te maken heeft en meer met het hallucinante werk van Nietzsche.
October 29, 2014
In volume. 4, is the best description of what heidegger means by "shining" or "scintillating." It allows "becoming" to "be." This is "eternal recurrence." Truth is static and unchanging and to that extent the "truth" is not the "truth" at all. Nietzsche's use of the word "truth" seems like a paradox to me. Everything static is sort of ossified, and the truth is static. I think both nietzsche and heidegger admired Heraclitus. Heidegger said, " to think is to have a star stand still in the worlds sky." Stars scintillate and shine and are ever changing or becoming. Change. Becoming.
Displaying 1 - 5 of 5 reviews