Nietzsche frédéric

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Nietzsche, FriedrichBiblio.com

Die Geburt der Tragödie German Edition

NIETZSCHE, FriedrichBiblio.com

Die Geburt der Tragödie aus dem Geiste der Musik

18724535Leipzig: E.W. Fritzsch 1872. First edition. First edition in exceptionally rare original publisher's cloth binding. This copy previously handled by Bill Schaberg: "When I wrote The Nietzsche Canon: A Publication History and Bibliography 1995 I had never even heard of these cloth copies of Nietzsche's first book put out by his publisher Fritzsch. So it was quite a shock when someone offered this copy to me. It turns out that Fritzsch's contemporary advertisements for the book mention a cloth binding so this is not just a figment of some bookseller's imagination." This Nietzsche's first book is a compelling argument for the necessity for art in life. It is fueled by his enthusiasms for Greek tragedy for the philosophy of Schopenhauer and for the music of Wagner to whom this work was dedicated.. Hardcover. IN THE EXCEPTIONALY RARE PUBLISHER'S BINDING. First edition in exceptionally rare original publisher's cloth binding. This copy previously handled by Bill Schaberg: "When I wrote The Nietzsche Canon: A Publication History and Bibliography The University of Chicago Press 1995 I had never even heard of these cloth copies of Nietzsche's first book put out by his publisher Fritzsch. So it was quite a shock when someone offered this copy to me. It turns out that Fritzsch's contemporary advertisements for the book mention a cloth binding so this is not just a figment of some bookseller's imagination." This Nietzsche's first book is a compelling argument for the necessity for art in life. It is fueled by his enthusiasms for Greek tragedy for the philosophy of Schopenhauer and for the music of Wagner to whom this work was dedicated. Nietzsche argues that the tragedy of Ancient Greece was the highest form of art due to its mixture of both Apollonian and Dionysian elements into one seamless whole allowing the spectator to experience the full spectrum of the human condition. The Dionysian element was to be found in the music of the chorus while the Apollonian element was found in the dialogue which gave a concrete symbolism that balanced the Dionysiac revelry. Basically the Apollonian spirit was able to give form to the abstract Dionysian. In contrast to the typical Enlightenment view of ancient Greek culture as noble simple elegant and grandiose Nietzsche believed the Greeks were grappling with pessimism. The universe in which we live is the product of great interacting forces; but we neither observe nor know these as such. What we put together as our conceptions of the world Nietzsche thought never actually addresses the underlying realities. It is human destiny to be controlled by the darkest universal realities and at the same time to live life in a human-dreamt world of illusions. The issue then or so Nietzsche thought is how to experience and understand the Dionysian side of life without destroying the obvious values of the Apollonian side. It is not healthy for an individual or for a whole society to become entirely absorbed in the rule of one or the other. The soundest healthiest foothold is in both. Nietzsche's theory of Athenian tragic drama suggests exactly how before Euripides and Socrates the Dionysian and Apollonian elements of life were artistically woven together. The Greek spectator became healthy through direct experience of the Dionysian within the protective spirit-of-tragedy on the Apollonian stage. The Birth of Tragedy was the best selling book that Nietzsche ever published; still it did not sell quickly. The Wagners had feared that there might not be an audience for the work and their apprehensions proved to be well-founded. A prediction that Nietzsche had once made to Rohde proved true: "The philologists won't read it on account of the music the musicians won't read it on account of the philology and the philosophers won't read it on account of the music and the philology." False hopes for brisk sales plagued the first half-year. In mid-April Nietzsche was writing home that "a new edition of my book will be needed soon"34 but the necessity of printing a second edition did not materialize quickly. By 20 July Fritzsch complained that there had been "no results" even though he had "sent out a fair number of copies." Schaberg The Nietzsche Canon p. 27 8vo 216 x 138 mm pp. i-iii iv 1 2-143 144. Original publisher's dark-rust binding with an ornate blind-stamped design on the front and rear covers and the spine lettered and filleted in gilt. There is some light browning to the edges of the page margins and light foxing throughout. Rear hinge with a 10 cm split. Entirely unrestored copy in its original state. An extremely well preserved copy of this unusual and all-but-unobtainable original publisher's cloth binding. / Hardcover. E.W. Fritzsch unknown

SOPHIA RARE BOOKS · Danemark14 500,00 $US≈ 12 268,45 €

Maurice BLANCHOT - (Friedrich NIETZSCHE)Biblio.com

Du côté de Nietzsche - Manuscrit autographe complet On Nietzsches Side Complete Autograph Manuscript

1946483421946. Fine. 1946 21.70 x 11.50 cm 7 feuillets foliotés Autograph manuscript by the author 14 pages in octavo published in issue no. 12 December 1945January 1946 of L'Arche. A complete recto-verso manuscript in a densely written hand with numerous deletions corrections and additions. Essay published on the occasion of the release of Father du Lubacs Le Drame de lhumanisme athée. After the war the place of Friedrich Nietzschealongside the Marquis de Sade and Søren Kierkegaardin Maurice Blanchots thought reflects the decisive influence of Georges Bataille and the philosophers he held in highest regard. From this point on Blanchot devoted many texts to these figures and Du côté de Nietzsche stands as a key testimony of that engagement. The very title of his forthcoming collection La Part du feu to be published in 1949 including this article in a slightly revised form is itself a Bataillean reference. For Blanchot Nietzsches power through his use of language and style lies less in his most explicit and oft-commented theses than in the crucible of a more fluid and sometimes self-contradictory discourse: « L'influence de Nietzsche ne se réduit pas aux formes extérieures qu'elle a prises ; c'est probablement au contraire ce qui de Nietzsche a échappé à toute transmission manifeste cette part de lui étrangère aux influences directes qui a exercé l'influence la plus profonde. » This idea would remain central to Blanchots reading of the German philosopher. Nietzsches inconsistency and ambiguity are embodied in the theme of the death of God central to his work: « En aucune façon le thème de la Mort de Dieu ne peut être l'expression d'un savoir définitif ou l'esquisse d'une proposition stable » Blanchot observes. And he famously adds: « Se contredire est le mouvement essentiel d'une telle pensée. » In LEntretien infini 1969 Blanchot would once again revisit the Nietzschean question of the death of God where it meets that of the unity of man. A remarkable text by Maurice Blanchot on Friedrich Nietzsche illustrating the profound influence of Georges Bataille on his thought. unknown

Rare Books Le Feu Follet - Edition-Originale.com · France2 875,00 €

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