Nietzsche's critique of pure reason: With a nietzschean critique of parsifal
Identifieur interne : 000E84 ( Istex/Corpus ); précédent : 000E83; suivant : 000E85Nietzsche's critique of pure reason: With a nietzschean critique of parsifal
Auteurs : Carl BradleySource :
- Neophilologus [ 0028-2677 ] ; 1988-07-01.
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DOI: 10.1007/BF02398446
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Nietzsche</title><author><persName><forename type="first">Friedrich</forename><surname>Nietzsche</surname></persName></author><editor>trans., Walter Kaufman</editor><imprint><date type="published" when="1968"></date><publisher>Random House</publisher><biblScope unit="page">24</biblScope><pubPlace>New York</pubPlace></imprint></monogr></biblStruct><biblStruct xml:id="b1"><monogr><title level="m" type="main">Here it appears as though Nietzsche had reached a complete reevaluation of his early main influences, Kant and Schopenhauer (and Wagner), the thinkers who sought to limit the pretense of " science, " the former from within reason, the latter from without a " system</title><author><persName><surname>Nietzsche</surname></persName></author><imprint><biblScope unit="page" from="18" to="19"></biblScope></imprint></monogr></biblStruct><biblStruct xml:id="b2"><analytic><title level="a" type="main">Despite a disclaimer of specific aesthetic influence from Schopenhauer, it is obvious that Nietzsche retains the Schopenhauer principle of evil's source lying in the selfpre-occupied individual, yet retaining this notion in such a way so as to re-think it and to a#irirm this original recognition of the self as a part of a greater will of nature, only to rejoice in fact in the ultimate destruction of this part in the tragic but beautiful destructiveness of this superceding Will. 10. Nietzsche, The Birth of Tragedy</title><author><persName><surname>Nietzsche</surname></persName></author></analytic><monogr><title level="m">The Birth of Tragedy</title><imprint><biblScope unit="page" from="65" to="7"></biblScope></imprint></monogr></biblStruct><biblStruct xml:id="b3"><monogr><title level="m" type="main">A Stage-Consecrating Fesrival-Play, trans</title><author><persName><forename type="first">Richard</forename><surname>Wagner</surname></persName></author><author><persName><forename type="first">Parsifal</forename></persName></author><author><persName><forename type="first">Margaret</forename><surname>Glyn</surname></persName></author><imprint><date type="published" when="1904"></date><publisher>Schirmer</publisher><biblScope unit="page" from="48" to="16"></biblScope><pubPlace>New York</pubPlace></imprint></monogr></biblStruct><biblStruct xml:id="b4"><monogr><title level="m" type="main">Contrary to Schopenhauer, however, is the creation ofcomforting equilibrium, the aesthetic consecration of everything that is insufferable in the actual social reality from which his work is attempting to flee</title><author><persName><surname>Schopenhauer 's Philosophy</surname></persName></author><imprint><publisher>Theodor, In Search of Wagner, trans., Rodney Livingstone</publisher><biblScope unit="page">40</biblScope><pubPlace>London</pubPlace></imprint></monogr><note>See. Adorno</note></biblStruct></listBibl></back></text></istex:refBibTEI></enrichments><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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