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'The main purpose of the book was to challenge nineteenth-century idealisations of classical Greece: ancient tragedy at its greatest, Nietzsche argued, was animated not by orderliness and quite decorum but by an inebriated frenzy of music, dnace and rollicking enormity.' New Humanist
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This edition of The Birth of Tragedy, one of the seminal philosophical works of the modern period, presents a new translation by Ronald Speirs and an introduction by Raymond Geuss that sets the work in its historical and philosophical context.
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Whatever underlies this questionable book, it must be a most stimulating and supremely important question and, furthermore, a profoundly personal one - as is attested by the times in which it was written, and in spite of which it was written, the turbulent period of the Franco-Prussian War of 1870-1. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
Whatever underlies this questionable book, it must be a most stimulating and supremely important question and, furthermore, a profoundly personal one - as is attested by the times in which it was written, and in spite of which it was written, the turbulent period of the Franco-Prussian War of 1870-1. Lesen Sie die erste Seite
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
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8 von 8 Kunden fanden die folgende Rezension hilfreich
Mind-blowing and life-changing: why nighttime is the right time.
30. Juni 2008
Format:Taschenbuch
After Plato/Aristotle, the most influential (and read) Western philosopher is Nietzsche, and few of his writings continue to resonate in the mind as forcefully as "The Birth of Tragedy." It's at once a coherent and fairly accessible text with implications far in excess of its stated, explicit meanings. Although Nietzsche's focus is, as the title indicates, on Greek drama prior to the 5th century B.C. and to the written records of Aeschylus, his setting is as much the realm of the sub-conscious, whether viewed as Jung's collective unconscious or Freud's id.
"The Birth of Tragedy" could as accurately be titled "An Anatomy of Desire and Investigation of the Role of the Erotic." Anyone who has read with understanding this account of the primary agency of the Chorus in early tragedy as well as the privileging of darkness over light, of the ear over the eye, of incantation over narration, is likely to find all "texts" thereafter colored by Nietzsche's views. It's no longer a mystery why "Moon" songs outnumber "Sun" songs by a vast margin in music literature, or why writers from Chaucer and Shakespeare to Wagner and Cole Porter extoll the realm of the dark and atemporal while sparing no venomous rhetoric in relentless denunciations of a rational, brightly lit temporal order.
Even a poet as calm and commonsensical as Wordsworth could write, "We murder to dissect." That which is illuminated, and hence visible and measurable, is necessarily individualized, quantified, and objectified, removing it from the vital stream that at some level we recognize as leading us to our most authentic selves. Whenever we "stop" the life-flow to examine a part--whether as an analytic scientist, a rational psychologist, or a pathological individual who finds love surrogates in the form of some fetish--we in effect "kill" the thing that had formerly embodied the living and the whole. Only by careful reconstruction can we begin to understand how the object of analysis, when experienced as part of the current, is not merely an object but a microcosm.
"The Birth of Tragedy" is Nietzsche's metaphorical journey into the archetypal "heart of darkness" that has been the destination for storytellers from Homer to Francis Ford Coppola. But it also represents the challenge confronting any true mathematician or scientist engaged in the quest of exploring and representing "the real." Perhaps it goes without saying that for any lover who is capable of addressing with honesty the experience of being "in love" Nietzsche's essay is practically required reading: it may probe sores and open wounds, but it's doubtful any other text does a better job of explaining why we as humans love to love, desire to desire, and are drawn--repeatedly and against our wills--to the entrancing song from the darkness.
"The Birth of Tragedy" could as accurately be titled "An Anatomy of Desire and Investigation of the Role of the Erotic." Anyone who has read with understanding this account of the primary agency of the Chorus in early tragedy as well as the privileging of darkness over light, of the ear over the eye, of incantation over narration, is likely to find all "texts" thereafter colored by Nietzsche's views. It's no longer a mystery why "Moon" songs outnumber "Sun" songs by a vast margin in music literature, or why writers from Chaucer and Shakespeare to Wagner and Cole Porter extoll the realm of the dark and atemporal while sparing no venomous rhetoric in relentless denunciations of a rational, brightly lit temporal order.
Even a poet as calm and commonsensical as Wordsworth could write, "We murder to dissect." That which is illuminated, and hence visible and measurable, is necessarily individualized, quantified, and objectified, removing it from the vital stream that at some level we recognize as leading us to our most authentic selves. Whenever we "stop" the life-flow to examine a part--whether as an analytic scientist, a rational psychologist, or a pathological individual who finds love surrogates in the form of some fetish--we in effect "kill" the thing that had formerly embodied the living and the whole. Only by careful reconstruction can we begin to understand how the object of analysis, when experienced as part of the current, is not merely an object but a microcosm.
"The Birth of Tragedy" is Nietzsche's metaphorical journey into the archetypal "heart of darkness" that has been the destination for storytellers from Homer to Francis Ford Coppola. But it also represents the challenge confronting any true mathematician or scientist engaged in the quest of exploring and representing "the real." Perhaps it goes without saying that for any lover who is capable of addressing with honesty the experience of being "in love" Nietzsche's essay is practically required reading: it may probe sores and open wounds, but it's doubtful any other text does a better job of explaining why we as humans love to love, desire to desire, and are drawn--repeatedly and against our wills--to the entrancing song from the darkness.
10 von 13 Kunden fanden die folgende Rezension hilfreich
Greeks, those who made life seem most seductive...
6. Mai 2006
Format:Taschenbuch
Although I'd spent some time reading Nietzsche somewhat intensively, I'm far from being a "student of Nietzsche," let alone a "Nietzsche scholar." My reading of him was more as a disturbed soul than as a student/scholar, and I didn't get much in the way of philosophical achievement of his. One of my plans for the summer is to read him more carefully and more with an eye to his intellectual development, and I began with The Birth of Tragedy.
So, BT is his first book, published when he was only 27. As he himself famously noted, 14 years after the first publication of BT, it is "a first book in every bad sense of the word." Apart from his own criticism (in "Attempt at a Self-Criticism"), any new reader just entering Nietzsche's corpus and Nietzsche scholorship is bound to hear of critical belittlements toward BT. So we hear that Nietzsche of BT is far from the mature philosopher we admire in Beyond Good and Evil and other later works, that he was under a strong sway of his youthful influences (Wagner, Schopenhauer) and was helplessly romantic. That he was a mere "philologist and cultural critic," whose philosophical maturing is years to come. That, taken with Nietzsche's later intellectual developments in mind, it is a "scandalous" (albeit in a different sense from what his detractors used it on its publication) book. Etc. Etc.
I'm now into Human, All Too Human, and I cannot but think that what Richard Schacht says in "Introduction" as to this another llargely ignored book of Nietzsche's early period equally applies to BT: "Even today, few recognize it as the gold mine it is, not only as an excellent way of becoming acquainted with his thinking, but also for its wealth of ideas worth thinking about." Coarsely put, isn't it often true that the worst work by the greatest mind often is far superior to the best by the mediocre?
My reading of BT this time concludes: his most pressing concern in BT is *not* to pay homage to Wagner or Schopenhauer, rather it is to seek ways to learn from Greeks, for as he notes, "the ability to learn from this people is in itself a matter of lofty fame and distinguishing rarity." By tracing the birth and death of tragedy in ancient Greece, Nietzsche is showing us how a culture could "justify" (affirm and embrace) even the "worst of all worlds," and how it perished. His diagnosis of modern ills toward the end of BT is indeed a goldmine, a wealth of ideas worth exploring, and is so pertinent to our time.
Perhaps Nietzsche's insights and ideas in BT have been fully explored and exhausted, and thus we may benefit more from elsewhere in this regard. Yet, as a beautifully written "youthful" book, belonging to the precious group of books we may call "books for the eternal youth (in us)," it has the power to make our heart beat faster, awakening the spirit in us we thought we have long lost.
So, BT is his first book, published when he was only 27. As he himself famously noted, 14 years after the first publication of BT, it is "a first book in every bad sense of the word." Apart from his own criticism (in "Attempt at a Self-Criticism"), any new reader just entering Nietzsche's corpus and Nietzsche scholorship is bound to hear of critical belittlements toward BT. So we hear that Nietzsche of BT is far from the mature philosopher we admire in Beyond Good and Evil and other later works, that he was under a strong sway of his youthful influences (Wagner, Schopenhauer) and was helplessly romantic. That he was a mere "philologist and cultural critic," whose philosophical maturing is years to come. That, taken with Nietzsche's later intellectual developments in mind, it is a "scandalous" (albeit in a different sense from what his detractors used it on its publication) book. Etc. Etc.
I'm now into Human, All Too Human, and I cannot but think that what Richard Schacht says in "Introduction" as to this another llargely ignored book of Nietzsche's early period equally applies to BT: "Even today, few recognize it as the gold mine it is, not only as an excellent way of becoming acquainted with his thinking, but also for its wealth of ideas worth thinking about." Coarsely put, isn't it often true that the worst work by the greatest mind often is far superior to the best by the mediocre?
My reading of BT this time concludes: his most pressing concern in BT is *not* to pay homage to Wagner or Schopenhauer, rather it is to seek ways to learn from Greeks, for as he notes, "the ability to learn from this people is in itself a matter of lofty fame and distinguishing rarity." By tracing the birth and death of tragedy in ancient Greece, Nietzsche is showing us how a culture could "justify" (affirm and embrace) even the "worst of all worlds," and how it perished. His diagnosis of modern ills toward the end of BT is indeed a goldmine, a wealth of ideas worth exploring, and is so pertinent to our time.
Perhaps Nietzsche's insights and ideas in BT have been fully explored and exhausted, and thus we may benefit more from elsewhere in this regard. Yet, as a beautifully written "youthful" book, belonging to the precious group of books we may call "books for the eternal youth (in us)," it has the power to make our heart beat faster, awakening the spirit in us we thought we have long lost.
6 von 9 Kunden fanden die folgende Rezension hilfreich
Competent translation --incompetent editor (1/2)
5. April 2009
Format:Taschenbuch|Von Amazon bestätigter Kauf
This volume includes
The Birth of Tragedy
The Dionysian World View
On Truth and Lying in the Supra-Moral Sense
Ronald Speirs' translation is very good and about everything one expects from an institution such as Cambridge. Raymond Geuss' introduction is: unsympathetic, condescending, spurious and trite with biographical snippets excepting. Skip the introduction to this text.
The Birth of Tragedy
The Dionysian World View
On Truth and Lying in the Supra-Moral Sense
Ronald Speirs' translation is very good and about everything one expects from an institution such as Cambridge. Raymond Geuss' introduction is: unsympathetic, condescending, spurious and trite with biographical snippets excepting. Skip the introduction to this text.
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