Filosofia

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    Arte do consolo deste lado de cá: considerações sobre a fisiologia da estética de Nietzsche
    (Universidade Federal do Espírito Santo, 2016-02-18) Moura, Gabriel Herkenhoff Coelho; Viesenteiner, Jorge Luiz; Burnett Junior, Henry Martin; Paschoal, Antônio Edmilson
    The task we assumed in this work was to place the question: how nietzschean’s reflections on art, at least in part, could become performed by a physiology of aesthetics (cf. GM III 8; CW 7; NW, Objeções)? Before intending to exhaust the subject, we tried to comprehend the possibility of coherent development of this problem on Nietzsche's thought. However, thereunto, we must deal with the perspective’s variations of a philosophy that this is not systematic and assumes its tensions; and 1886 seems to be for us a key moment to see these nuances, particularly regarding art. On that year, Nietzsche wrote new prefaces to his five books published so far – The Birth of Tragedy (1872), Human, all too human I (1878) and II (1879), Dawn (1880) and The Gay Science (1881-1882) – seeking to highlight the unitary character of his work, or, as he wrote in a letter, present the “story of a development”. And precisely to his debut book, he added a preface entitled Attempt at a Self-Criticism, in which he points to the aspects that insert it in the totality of his work, but, on the same time, he distances himself from certain conceptions that would configure a “metaphysics of artist” in the book. This tension is addressed, in the Chapter I of this master’s dissertation, from a contrast between The Birth of Tragedy and its posterior Self-criticism. After this first step, we try to argument in Chapter II as, yet on Human, Nietzsche presents a reorientation of his aesthetics, which in Aurora and The Gay Science is consolidated with the rooting of morality, philosophy and the arts in physiology, which we argue can be better interpreted as logos of physis. In Chapter III, we indicate that the gain of the physiological scope is the ground on which Nietzsche thinks the problem of backward inference that leads to his distinction of artistic values between impoverishment and abundance (cf. GC 370), which seems to conduct his physiology of aesthetics. Finally, we discuss how self-critical exercise and backward inference converge in The Case of Wagner in the antinomy between the musicians Wagner and Bizet and in Nietzsche’s self-staging as a décadent who recognized his illness, his wagnerianism, and experienced a new health.