Download Escritos de Turín. Cartas y notas de locura (Fragmentos by Friedrich Nietzsche PDF

By Friedrich Nietzsche

Siguiendo un consejo de Heinrich Köselitz, Nietzsche llega a Turín a principios de abril de 1888. En esta ciudad, a excepción de su recurring estancia estival en Sils-Maria, pasará sus últimos meses de vida consciente. En Turín, Nietzsche cree alcanzar por fin su destino. Abandona definitivamente el proyecto de exposición sistemática de su filosofía y se lanza a escribir una serie de breves escritos polémicos, al tiempo que rememora los acontecimientos de su vida. Es su presentación en l. a. gran escena intelectual europea: el inicio de l. a. gran política y de una nueva cronología... En un estado de euforia rayano en el éxtasis, Nietzsche se hunde definitivamente en los angeles locura.El presente libro recoge el conjunto de anotaciones de Nietzsche a partir de su llegada a Turín. Una amplia selección epistolar, que incluye los angeles correspondencia con August Strindberg y las denominadas cartas de locura, permiten al lector seguir paso a paso el proceso de disolución de l. a. mente y l. a. obra de Nietzsche.

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Extra info for Escritos de Turín. Cartas y notas de locura (Fragmentos póstumos, 1888) (Biblioteca Nietzsche)

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The phenomenal] world. A painter without hands who wished to express in song the picture before his mind would, by means of this substitution of spheres, still reveal more about the essence of things than does the empirical world. (Nietzsche, TL 86–87) We might distinguish three main sorts of thought in this passage: first, a thought about the ordinary perception of objects as somehow to be understood ‘artistically’; second, a thought about the unavailability of a ‘criterion of correct perception’; and third, a thought about an ‘intermediate sphere’ that makes it possible for perception to get at the world at all.

And ‘ecstatic intoxication’, surely, is just right here, pre-eminently so. Utterly absorbed in the other person, the ordinary limits of feeling seem swiftly transgressed, and something larger, more intense, more extreme moves centre-stage. Nietzsche’s favourite work of Wagner’s was Tristan und Isolde, its central characters exemplary of the power of sexual love. 9 The two have overcome, or feel themselves to have overcome, their numerical distinctness, and have merged and been sublimated into a force greater than either of them.

In place of the unashamed and passionate advocacy of The Birth of Tragedy, here we have a writer who is determined to be disinterested, critical, ironical, aloof. In one sense, however, Nietzsche’s preoccupations have not changed. Just as much as in The Birth of Tragedy, his driving concern remains the possibility of a postChristian regeneration of culture, of new ways of living now that God is dead. The difference – and it’s a big difference – is simply that Nietzsche no longer has a Wagnerian blue-print to offer.

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