Nietzsche, Tension, and the Tragic Disposition by Matthew Tones (review)

Nietzsche, Tension, and the Tragic Disposition by Matthew Tones (review) 300 | J O U R N A L O F N I E T Z S C H E S T U D I E S already overcome the history of metaphysics and the limits of conceptual thought (197). I am not convinced, however, that the mature Nietzsche entirely abandons the cultural project, intending to engage the reader only personally and artistically. His genealogical and cultural critiques of modernity are vital aspects of the project of creating new values, and they do not have the merely "negative" or "destructive" function that Daniels suggests (194). Daniels's purely "aesthetic" solution would make Nietzsche's engagement with history and his philosophy in general (despite Daniels's recognition of its valuable contributions [198, 206­8]), if not redundant, at least removed from the poetic practice of affirmation. So one is left wondering: why even bother with genealogical and philosophical critique? Why not simply write tragic poetry? Is Rilke's poetry informed by or does it presuppose Nietzsche's critique of history and modernity? What is it about Rilke's poetry that addresses specifically the modern subject and the subject's world? Daniels's responses to such questions, insofar as he offers any, are not wholly convincing. Despite these reservations, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Journal of Nietzsche Studies Penn State University Press

Nietzsche, Tension, and the Tragic Disposition by Matthew Tones (review)

The Journal of Nietzsche Studies, Volume 48 (2) – Jul 10, 2017

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Publisher
Penn State University Press
Copyright
Copyright © The Pennsylvania State University.
ISSN
1538-4594
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Abstract

300 | J O U R N A L O F N I E T Z S C H E S T U D I E S already overcome the history of metaphysics and the limits of conceptual thought (197). I am not convinced, however, that the mature Nietzsche entirely abandons the cultural project, intending to engage the reader only personally and artistically. His genealogical and cultural critiques of modernity are vital aspects of the project of creating new values, and they do not have the merely "negative" or "destructive" function that Daniels suggests (194). Daniels's purely "aesthetic" solution would make Nietzsche's engagement with history and his philosophy in general (despite Daniels's recognition of its valuable contributions [198, 206­8]), if not redundant, at least removed from the poetic practice of affirmation. So one is left wondering: why even bother with genealogical and philosophical critique? Why not simply write tragic poetry? Is Rilke's poetry informed by or does it presuppose Nietzsche's critique of history and modernity? What is it about Rilke's poetry that addresses specifically the modern subject and the subject's world? Daniels's responses to such questions, insofar as he offers any, are not wholly convincing. Despite these reservations,

Journal

The Journal of Nietzsche StudiesPenn State University Press

Published: Jul 10, 2017

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