In his work Daybreak, Nietzsche challenges our understanding of what constitutes the self. Instead he offers a rather provocative understanding of what constitutes the self. For one to be able to understand Nietzsche’s view of the self, one has to interpret his concept of drives. So, what are drives? Properties attributed to drives show that they are unconscious entities that seek “nourishment” (to be explained below) to manifest themselves to
In which all humans can experience. “Art objects are those created to produce aesthetic pleasure by virtue of their form.”-Kant (pg. 50) Schopenhauer’s view of art is gloomy as opposed too pleasurable. He sees artist as tragic characters forced to tell the truth about humanity, yet doomed to fail. He reveals that truths contemplation of will is that reality is a mere illusion, and that all humanity is pointless, and that we are pawns in this never-ending game called life.
This unique characteristic is rewarded with torture, expressed by the imagery and figurative language present throughout the poem. “What was thy pity’s recompense?/A silent suffering and intense;”(5-6, Byron). The use of the descriptive word “silent” represents both the way the other gods looked upon Prometheus’s sentence and the pride with which he held himself in its duration. He is viewed by Byron as a martyr of liberty, a cause that Byron was very adamant about and eventually gave his life for in the Greek War for Independence. Prometheus’s compassion for lesser mortals is juxtaposed against the natural hierarchy of his society, due to the fact that “Titans, like gods, have hitherto been the object of human attention, models of human aspiration and resentment.
He believes that it is “a will to nothingness, an aversion to life, a rebellion against the most fundamental presuppositions of life.” To explain this we must first define sacrifices in general, which is to give up something so as to feel better when suffering, reaching a moment of inspirational truth. In this idea Nietzsche challenges the true ideals of sacrifice by saying, sacrifice is only truly virtues when you give up something for nothing in return. If we look closely at the consequences of peoples sacrifice we see a trend of return interest, that is people receive a feeling of well-being. Nietzsche explains that sacrifice is only used for personal self-interest; in this point the word sacrifice has disbelief in its self. To escape from this continuing moral dilemma we have two choices: 1, we sacrifice, sacrifice all together or 2, we sacrifice for nothing.
Poet T.S. Eliot infamously referred to Titus as “one of the stupidest and most uninspired plays ever written,” while playwright Edward Ravenscroft dismissed it simply as a “heap of rubbish” (Shakespeare, 399). Yet for all of Titus’s grotesque horrors, the violence that seemingly repulsed Eliot and company should not be viewed as erratic, uncalculated acts. Rather they should be understood as representations of a wider, symbolic significance. It is through dismemberment, and the dismemberment of hands in particular, that the play can be seen through an emblematic perspective to signify the justification of vengeance and the loss of political and personal agency.
At the heart of our obsession with comfort lies the mortal need to minimize pain. However, in our quest to rid ourselves of pain are we not defying our own humanity? Our intellect is a product of centuries of suffering. The greatest works of art that the world has ever seen, and will see, are inspired by pain. This is reflected in Homer’s timeless epic, The Odyssey.
Even the greatest of artists would rather give away his life than surrender his art to be judged solely by the public. Art for an artistic genius is practised for its own sake; art for the purpose of art. Existence for the sake of existence itself - stripped of meaning, of value and of subjective interpretation. In its bear meaningless form, something still remains: the necessary Natural Law, a philosophical concept considered the basis of human well-being, a system of the values that determine human existence. Throughout The Tempest Prospero’s character portrays an image of a nearly Nietzchean superhuman capable of disclaiming authority, killing God.
The View of Art of Plato, Aristo and Horace What is art is one of the most discussed questions of philosophers. One of them, Plato thinks that art is the imitation (mimesis). He sees the physical world as a poor copy of a perfect, changeless and eternal original. For example, the beauty of a flower or a sunset is an imperfect copy of the original. They are just pointers to the perfect ‘’beauty’’.
If these things are true , then Nietzsche can feel justified in arguing that Socrates was not a great man and that all of the philosophers that followed him through the leadership of Plato were also symptomatic of all that was wrong with Socrates and with his form of reasoning Read more: http://www.mightystudents.com/essay/Nietzsches.Socrates.essay.65984#ixzz2Q4lr9MXm argues against his ugliness , which appears in both writings on and sculptures of Socrates . If Socrates was ugly and conventional wisdom at the time during which Nietzsche lived was that criminals are ugly , is it not possible to argue that Socrates was not a great man , but , rather
Eliot conveys these notions to the reader through the development of Prufrock’s introspective identity. Eliot’s description of this character’s persona relies upon the figurative language devices to effectively communicate the idea of social and cultural isolation. The epigraph from Dante’s Inferno inserted at the beginning of ‘Prufrock’ expresses Eliot’s decision to contribute to the socially isolated perspective. It entails a descriptive voice of a person damned in hell who becomes a symbol of Prufrock’s ideal listener. This is a secretive being that is just at unease to the situation as the reader, and would keep to themselves the content of Prufrock’s