Nietzsche and Paradox

Nietzsche and Paradox


Translated from the French, this publication analyzes the paradoxes that essentially signify Nietzsche’s philosophy and texts.

Newly translated into English, this ebook analyzes the paradoxical discourse that flows via and essentially characterizes Nietzsche’s writings. interpreting Nietzsche’s The beginning of Tragedy; Human, All Too Human; past solid and Evil; at the family tree of Morals; and The Antichrist; Rogério Miranda de Almeida patiently opens those texts to the multiplicity of truths that spread in the course of the technique of non-stop reinterpretation and reevaluation. by no means officially defining the contradictions inside of Nietzsche’s perception of metaphysics, faith, paintings, technological know-how, and philosophy, Miranda de Almeida recognizes in its place that the historical past of proposal, and the advance of Nietzsche’s writings specifically, is an interaction of forces and drives, encroachment and give up, building and destruction, overcoming and transformation, lack and success, delight and dissatisfaction, excitement and displeasure, soreness and pleasure. This ebook unearths the never-ending views and truths that Nietzsche creates and transforms.

“Drawing at the wide culture of the ‘French Nietzsche,’ this booklet deals a wealthy tapestry of reflections at the multiplicities still to be mined in Nietzsche’s proposal, together with the aesthetics of paintings and visual appeal, on lady and dissimulation, in addition to morality, faith, and, after all, paradox.” — Babette E. Babich, writer of Words in Blood, Like vegetation: Philosophy and Poetry, tune and Eros in Hölderlin, Nietzsche, and Heidegger

“From texts ahead of The Birth of Tragedy in the course of the ultimate works of 1888, Miranda de Almeida dramatically attracts out the tensions, torsions, and the dynamics of Nietzsche’s theoretical improvement. In remarkably transparent phrases, he explains how, for Nietzsche, the complete subsoil of ideas and values are orchestrated by means of drives and needs—whether they be fictive or real—and exhibits how this ends up in the original personality of his ever-changing appreciation of the cultural symbolic.” — David B. Allison, writer of Reading the recent Nietzsche: The start of Tragedy, The homosexual technology, hence Spoke Zarathustra, and On the family tree of Morals

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