A arte além da razão: a tragédia na reflexão do jovem Nietzsche

• Autor(a) principal: Batista, Walquiria Pereira
• Data de Publicação: 2014
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• dARK ID: ark:/38995/001300000cq11
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tde/3001
• topic: Arte; Jovem Nietzsche; Além; Art; CIENCIAS HUMANAS::FILOSOFIA

The starting point of this study is the examination of tragic art in Nietzsche’s reflection about culture, having his first book The Birth of Tragedy as main line. An intrinsic relation between art and life is noticed in the opposition which the philosopher establishes between a tragic culture and a theoretical culture, in a way that the first is seen as the ideal terrain of art, while the latter is considered a promoter of the artificialized arts of the modern era. The objective is to examine the metaphysical impulses which art has as a substratum in tragic culture and, at the same time, to identify the superposition of reason inaugurated by Socrates as something harmful to the instincts, which would exterminate from art its original, solely artistic element. With these notions, the intention is to study Nietzsche’s Apollinian- Dionysian conception of art, in dialogue with authors of Greek and German drama, identifying contrasts and communions. Art projected on the principle of reason would have its mark in Euripides’ aesthetic Socratism, in Aristotle’s primacy of action and catharsis, in Lessing’s Enlightenment dramaturgy, in Schiller’s expressions of liberty and would resonate in the recitative of the opera in the service of distraction. On the other hand, the splendor of the tragic era lies in the tragedies of Aeschylus and Sophocles, in the hero’s Apollinian- Dionysian dichotomy, exemplified in Prometheus and in the two Oedipusses. Myth and music are seen as fundamental and inseparable components of art sprouted in a tragic culture, capable of establishing an unconscious relationship with the audience. These are the premises to understand Nietzsche’s affinities with Wagner, in the expectation of a renaissance of myth and music as reawakening of the tragic spirit in German genius.