Nietzsche, The Will to Power as Art

• Amazon

  • Nietzsche, as art will to power.
  • Lectures by Heidegger. Heidegger’s Complete Works, Volume 43.

• preliminary investigation

  • 1 Euche as a metaphysical thinker
    • a Fundamental and leading questions. Characterize Nietzsche’s fundamental position first as “the will to power”.
    • b The necessity of confronting Nietzsche’s thought.

• Part I. The Will to Power. The Form of Nietzsche’s Fundamental Position as a Thinker and Its Coming from Traditional Metaphysics.

  • Chapter 1: The Formation and Structure of the Main Book. Nietzsche’s fundamental metaphysical position.
    • 2 Book “The Will to Power”
      • Biographical position of Nietzsche’s main book.
      • Compilation of posthumous manuscript fragments. Large octavo format and complete historical-critical collection. How to cite in this lecture.
    • 3 Plan and preliminary work to “main building”
      • Testimony to the history of formation in Nietzsche’s letters.
      • Various Plans and Drafts. The first manifestation of the three fundamental positions.
    • 4 Will to power, eternal recurrence, value transformation unity
      • The will to power as the fundamental character of being, and eternal return as the essence of being. The most important idea, existence thought as time, is not thought as a question about “existence and time.
      • Current interpretations of Nietzsche’s eternal regression theory. Alfred Beumler. and Carl Jaspers.
      • Compilation of a preliminary work, which was transcribed with the “will to power” as its main objective. The arbitrariness of the aphorism sequence.
    • 5 Structure of the “Main Book
      • Repetition. Yes Question.
    • 6 Nietzsche’s way of thinking as a reversal.
  • Chapter 2: Nietzsche’s Theory of the Will
    • 7 The existence of what is as will in traditional metaphysics.
    • 8 The Will as the Will of the Kahe
      • The impossibility of deriving the concept of will from a particular domain of being. The will as a mental capacity. The will as a cause.
        • will to be a determination to self, to go out beyond self and be … Nietzsche’s explanation of being master over the
    • 9 passion, passion, and will as emotion
      • The invalidity of psychology and physiology in the regulation of passions, passions, and emotions.
      • Two essential elements of passion on the ground of the stipulation that the will to power is the fundamental form of passion.
        • The first essential element, i.e., excitement, going out beyond the self
        • The second essential element, i.e., passion as a seizure
        • The difference between passion and fierceness, i.e., intelligence and blindness
      • Will as feeling (being mooded), i.e., openness to disclose oneself
    • 10 An Idealistic Interpretation of Nietzsche’s Theory of the Will. the will as an imperative.
    • 11 strength and will. The Nature of Strength
      • The will to power as that which creates and that which destroys. The negative as the essential element of being in German idealist philosophy. Schopenhauer’s condemnation of idealism.
      • Euche’s concept of power as a stipulation of existence and Aristotle’s theory of dunamis, energeia, and entenkeia.

• Part II: Art and Truth. Nietzsche’s Aesthetics and the Platonist Tradition

  • Chapter 1: The Contours of Nietzsche’s Physiological Aesthetics

    • 12 Fundamental and Leading Questions in Philosophy. Exhibiting the Linkage of Questions about Art and Truth
    • 13 Five propositions about art. Their Relation to Nietzsche’s Main Propositions on Art.
      • Art as the most transparent and well-known way of the will of the kahe
      • Grasping art from the side of creators and producers
      • Art as the fundamental genesis of all that is
      • Art as a counter-movement to nihilism
      • Superiority of the value of art to truth
    • 14 Six Basic Facts in the History of Aesthetics
      • Aesthetics” as a name that calls for philosophical reflection on the nature of art
      • Six Basic Facts
        • The Unnecessity of Aesthetics in the Age of Great Greek Art
        • The origin of the question of art in the thought of Plato and Aristotle. The basic concept of material-form, technetium (Teknay).
        • The Beginning of Modernity, Art as a Cultural Phenomenon
        • Hegel’s Lectures on Aesthetics. Art as something that has passed away
        • Nineteenth-Century Aesthetics. Richard Wagner’s Will for an Integrated Art
        • Nietzsche’s “Physiology of Art” as a counter-movement to nihilism
    • 15 Euphoria as an aesthetic fundamental state
      • Elucidating the conflicts of Nietzschean aesthetics. Art as a counter-movement to nihilism and as an object of physiology.
      • On the establishment of the rule that Apollonian and Dionysian are types of euphoria.
      • Euphoria as being in a mood while having a body.
        • The nature of euphoria in general. The opposition between the Apollonian and the Dionysian in Helderlin and Nietzsche.
        • The Question of the Inevitability of Euphoria for Art
    • 16 Clarifying the Nature of Beauty
      • Kant’s Doctrine of Beauty. Its Misunderstanding by Schopenhauer and Nietzsche
      • Beauty as prescriptive and normative
    • 17 Basic Aesthetic Attitudes. Creation and perception.
      • Characterization as “idealization” of artistic creation
      • Contemplation and Perception as the Pursuit and Realization of Creation
    • 18 Euphoria as a form-making force
      • Form as the state of the fundamental attitude toward what is
      • Logical Emotions. The Reduction of Formal Laws to Raw Statehood
      • Summary and Perspectives. The unhelpfulness of the subject-object distinction for explaining aesthetic situations.

  • Chapter 2: Structure and Foundations of Nietzschean Aesthetics

    • 19 The Great Style. Euphoria and beauty, the unity of interconnectedness between creation-enjoyment and form
      • The Meaning of Great Style for Nietzschean Aesthetics
      • The inevitable inextricability of the stipulation of art as a counter-movement against nihilism and the stipulation of art as an object of physiological aesthetics.
      • Strict Style. Rescuing the Classical from Misunderstanding by Pseudoclassicism
      • The great style as the unity of chaos and law. Music and the Great Style
      • Art as the greatest stimulant of life. Interpretation of the main propositions about art.
      • iteration
      • The elucidation of the basic conditions of the great style. With reference to the oppositions of classical - romantic, active - reactionary, and existence - generation.
      • The pinnacle of Nietzschean aesthetics, the great style as the highest emotion of power. A retrospective look at the process of thought that has been
    • 20 Grounding of the Five Propositions on Art

  • Chapter 3: Relation between Aesthetics and the Question of Truth

    • 21 A conflict that inspires wonder between truth and art. A Question of Truth
      • Preparatory contemplation for questions of truth
        • basic vocabulary historicality
        • The primary trajectory of the significance of the basic term. Intrinsic and extrinsic trajectories. Prevention of equating essence with universal.
      • The truth problem must not appear. Attributability to the cognitive domain of truth.
    • 22 Platonist Interpretation of Nietzsche from the Standpoint of Basic Experience of Nihilism
      • Platonist and positivist interpretations of cognition
      • The fundamental philosophical position of overthrown Platonism
      • Nihilism as a basic fact of Western history
        • Euche’s words on the death of God
        • Nihilism and the Great Politics
        • Nietzsche’s position on Christianity
      • Establishment of the true as sensible
    • 23 The necessity of returning to Plato’s philosophy to clarify the conflict between art and truth

  • Chapter Four. Plato’s Philosophy of Art

    • 24 Peripheries and linkages of Plato’s reflections on the relationship between art and truth
    • iteration
    • 25 Plato’s State. The separation of art (mimesis) from truth (Idea).
      • The Platonic method of Idea Thinking. The perceiver locates himself between individual (in philosophy) and idea (in Platonic thought).
      • Pursuit of the essence of mimesis
        • Hand Crafted Production
        • Artists’ production
      • iteration
        • Creation, production and imitation. The three ways of immanence and existence. Uniqueness and immutability of truth.
      • Mimesis and Individual Status (Perspectives)
    • 26 “[pied roe (species of sea lion, Pterois volitans)” by Plato. The Meretricious Conflict of Truth and Beauty
      • Preliminary Considerations. Phenomenological stipulations of the nature of conflict.
      • Plato’s Question to Beauty and Truth. Dialogue “On Beauty”
      • Beauty as Exposure of the Real
        • The meaning of beauty for human nature. Attention to and forgetfulness of existence.
        • The Nature of Beauty. Reclaiming and Retaining Attention to the Presence
      • summary
        • The inextricability and conflict between beauty and truth

  • Chapter 5: Nietzsche’s stipulation that art is the will to the temporary

    • 27 Nietzsche’s fall of Platonism
      • Turning away from Platonism as the last step in overcoming Platonism
      • Presentation of the history of Platonism. An Allegory on the “True World.”
      • Critical Addendum. Overcoming and Strengthening Platonism
    • 28 New interpretations of the sensible and the palpable conflict between art and truth
      • Perspective character of life forms
      • The Will to the Hypothetical and the Will to the Truth. The roots of Nietzsche’s theory of regression. Art and Science

appendix

• A About the lecture and Nietzsche as a whole
  • On the Nietzsche Lectures. Confronting Nietzsche.
  • What was and still is considered Nietzsche
    • Confrontation ≠ Controversy
  • Distortion of conventional Nietzschean philosophy
  • Nietzsche
  • What is the confrontation with philosophy in the first place?
  • Intent of the lecture, very tentative and localized
  • lecture
• B For two lectures on Nietzsche.
  • The entirety of the Winter Term 1936/37 and the Summer Term 1937
    • Nietzsche’s Metaphysical Mission
    • Two conditions for understanding this lecture
    • The End of Western Metaphysics
• C Linkage between lectures in the winter semester of 1936/37 and the summer semester of 1937
  • Structure of the leading question
  • Intrinsic linkage of both lectures
• D Notes to Nietzsche Lectures
  • The Complete Works of Nietzsche in the Heidegger Collection (octavo)

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