Do Ressentimento a gaia ciencia : a função da arte na Terceira Dissertação de "Para a genealogia da moral" de Nietzsche
Rodrigo Cumpre Rabelo
DISSERTAÇÃO
Português
(Broch.)
T/UNICAMP R112d
[From resentment to gay science]
Campinas, SP : [s.n.], 2007.
161p. : il.
Orientador: Oswaldo Giacoia Junior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Resumo: O texto visa evidenciar e depurar a função da arte no interior da análise crítica do ascetismo entendido como subseqüência do ressentimento, função essa necessariamente imbricada com a idéia de uma gaia ciência em oposição aos valores metafísico-niilistas. Conforme a tese dos escritos de...
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Resumo: O texto visa evidenciar e depurar a função da arte no interior da análise crítica do ascetismo entendido como subseqüência do ressentimento, função essa necessariamente imbricada com a idéia de uma gaia ciência em oposição aos valores metafísico-niilistas. Conforme a tese dos escritos de Nietzsche, o tipo homem deu-se, via de regra, sob a égide dos valores negativos do ressentimento, cujo corolário é o ideal ascético, atual paradigma dominante de todas as áreas da vida humana (e de todo ¿conhecimento¿ sobre essas áreas). Contra esse processo de decadência que corresponde a um castramento do homem, a um enfraquecimento de seus impulsos positivos, criadores, apenas a arte poderá indicar o caminho para novas possibilidades de existência, posto que é a única atividade humana que exemplifica uma valoração não-asceta da existência. O espírito livre, o filósofo do futuro, tem na arte a matriz operacional que permitirá idealizar novamente o mundo, levar o homem a assumir, agora de forma consciente e plena, a função ¿divina¿ de auto-criador e modelador da vida, no espírito de Dioniso (do segundo Dioniso, o do velho Nietzsche). Ao invés do auto-apequenamento do homem, ter-se-ia, com e a partir da ¿arte¿ (isto é, com a auto-criação de cunho nobre, regida pela gaia ciência), as diretrizes para a auto-superação da vida humana atual, dando lugar e vazão a novas, ¿até agora não desejadas¿, realidades. Estas se traduzirão, por exemplo, numa grande saúde, numa grande política, numa grande razão, e mesmo numa grande seriedade; numa palavra, à existência em grande estilo, inédita na história, senão por alguns ¿acasos felizes¿. O ponto de viragem é a chamada morte de Deus, perpetrada pela própria vontade de verdade ascética, numa imensa e inédita auto-implosão que implica, inclusive, na auto-superação-supressão ou metamorfose da Filosofia em gaia ciência. Seus herdeiros diretos serão uma nova espécie de pensadores-que-sentem-e-criam, que englobarão e extrapolarão e superarão o filósofo, o artista, o médico, o legislador. Conclui-se, então, que a função da arte na Terceira Dissertação de ¿Para a genealogia da moral¿ tem lugar e se constitui no entremeio das engrenagens que movem a necessária, autoprogramada superação-supressão da vontade de verdade ascética em direção à gaia ciência. Conclui-se que na tessitura do aberto plano existencial humano há, entre arte e ciência-filosofia (Wissenschaft) uma contínua, inesgotável, instigante e produtiva tensão; uma relação, de mão dupla, entre dois pólos opostos-complementares, relação que se desdobra historicamente através de complexos tipos de formas de vida. Conclui-se que, na prática, ¿a filosofia ?na medida em que genuinamente olhe para dentro do 'abismo¿ da realidade? necessita das ilusões embelezadoras da arte a fim de não 'perecer pela verdade¿. Pois a arte constitui a melhor força de oposição contra o pessimismo negador do mundo e o maior estimulante para a vontade¿ [MAY, 1999, p. 35 (tr. pr.1)]. Conclui-se que Nietzsche quer, conscientemente, pôr em evidência e manter ativada essa relação na configuração filosofia-arte, bem como nas descrições do artista autêntico e do filósofo da gaia ciência
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Abstract: The text aims to select and put in evidence the function of art in the interior of Nietzsche¿s
critical analysis of asceticism, understood as a subsequence of resentment, function which
necessarily imbricates with the idea of a gay science in opposition to the metaphysical-nihilistic... Ver mais Abstract: The text aims to select and put in evidence the function of art in the interior of Nietzsche¿s
critical analysis of asceticism, understood as a subsequence of resentment, function which
necessarily imbricates with the idea of a gay science in opposition to the metaphysical-nihilistic values.As the thesis of Nietzsche¿s writings puts it, man type was given, usually, under the sign of the negative values of resentment, corollary of which is the ascetic ideal, current dominant paradigm of all human life realms (and of all "knowledge" on these areas). Against this process of decay that corresponds to a castration of man, to a weakness of its positive, creative impulses, only art will be able to indicate the way for new existence possibilities, given that is the sole human activity that exemplifies a non-ascetic valuation of the existence. The free spirit, the philosopher of the future, has in art the operational matrix that will allow idealizing the world again, to take man to assume, now in a conscientious and plain way, the ¿divine" function of self-creator and life shaper, in the spirit of Dionysus (of the second Dionysus, the one of the old Nietzsche). Instead of the self-diminishing of man, the lines of direction for current human life¿s self-overcoming would transpire with and from "art" (that is, the auto-creation of noble matrix, conducted by a gay science), giving place and outflow to new, "not yet desired", realities. These will be expressed, for example, in a great health, a great politics, a great reason, even in a great seriousness; in a word, in the existence in great style, unknown to history but for some "happy accidents". The turning point is the so-called death of God, perpetrated by the ascetic will to truth itself, an immense and unknown self-implosion that also implies the self-overcoming-suppression or metamorphosis of Philosophy in gay science. Its inheritors by right shall be a new species of thinkers-who-feel-and-create, who shall encompass and overcome and overpass the philosopher, the artist, the doctor, and the legislator.
One then concludes that the function of art in the Third Inquire of "Toward the genealogy of morals" has place and constitutes itself in the in between of the gears that move the necessary, selfprogrammed, overcoming-suppression of the ascetic will to truth toward gay science. One concludes that upon the open plain of human existential tissue there is a continuum, inexhaustible, exciting and productive tension between art and science-philosophy (Wissenschaft); a double-handed relation between two opposite-complementary polar poles that historically unfolds through complex life form types. One concludes that, in short, ¿philosophy ?insofar as it genuinely looks into the 'abyss¿ of reality? needs the beautifying illusions of art lest it 'perish of the truth¿. For art constitutes the best counterforce against world-denying pessimism and the greatest stimulant of the will.¿ [MAY, 1999, p. 35]. One concludes that Nietzsche wants, conscientiously, to put in evidence and to keep activated this relation in the philosophy-art configuration as well as in the descriptions of the authentic artist and of the gay science philosopher Ver menos
critical analysis of asceticism, understood as a subsequence of resentment, function which
necessarily imbricates with the idea of a gay science in opposition to the metaphysical-nihilistic... Ver mais Abstract: The text aims to select and put in evidence the function of art in the interior of Nietzsche¿s
critical analysis of asceticism, understood as a subsequence of resentment, function which
necessarily imbricates with the idea of a gay science in opposition to the metaphysical-nihilistic values.As the thesis of Nietzsche¿s writings puts it, man type was given, usually, under the sign of the negative values of resentment, corollary of which is the ascetic ideal, current dominant paradigm of all human life realms (and of all "knowledge" on these areas). Against this process of decay that corresponds to a castration of man, to a weakness of its positive, creative impulses, only art will be able to indicate the way for new existence possibilities, given that is the sole human activity that exemplifies a non-ascetic valuation of the existence. The free spirit, the philosopher of the future, has in art the operational matrix that will allow idealizing the world again, to take man to assume, now in a conscientious and plain way, the ¿divine" function of self-creator and life shaper, in the spirit of Dionysus (of the second Dionysus, the one of the old Nietzsche). Instead of the self-diminishing of man, the lines of direction for current human life¿s self-overcoming would transpire with and from "art" (that is, the auto-creation of noble matrix, conducted by a gay science), giving place and outflow to new, "not yet desired", realities. These will be expressed, for example, in a great health, a great politics, a great reason, even in a great seriousness; in a word, in the existence in great style, unknown to history but for some "happy accidents". The turning point is the so-called death of God, perpetrated by the ascetic will to truth itself, an immense and unknown self-implosion that also implies the self-overcoming-suppression or metamorphosis of Philosophy in gay science. Its inheritors by right shall be a new species of thinkers-who-feel-and-create, who shall encompass and overcome and overpass the philosopher, the artist, the doctor, and the legislator.
One then concludes that the function of art in the Third Inquire of "Toward the genealogy of morals" has place and constitutes itself in the in between of the gears that move the necessary, selfprogrammed, overcoming-suppression of the ascetic will to truth toward gay science. One concludes that upon the open plain of human existential tissue there is a continuum, inexhaustible, exciting and productive tension between art and science-philosophy (Wissenschaft); a double-handed relation between two opposite-complementary polar poles that historically unfolds through complex life form types. One concludes that, in short, ¿philosophy ?insofar as it genuinely looks into the 'abyss¿ of reality? needs the beautifying illusions of art lest it 'perish of the truth¿. For art constitutes the best counterforce against world-denying pessimism and the greatest stimulant of the will.¿ [MAY, 1999, p. 35]. One concludes that Nietzsche wants, conscientiously, to put in evidence and to keep activated this relation in the philosophy-art configuration as well as in the descriptions of the authentic artist and of the gay science philosopher Ver menos
Giacoia Junior, Oswaldo, 1954-
Orientador
Giacoia Junior, Oswaldo, 1954-
Orientador
Orlandi, Luiz Benedicto Lacerda, 1936-
Avaliador
Do Ressentimento a gaia ciencia : a função da arte na Terceira Dissertação de "Para a genealogia da moral" de Nietzsche
Rodrigo Cumpre Rabelo
Do Ressentimento a gaia ciencia : a função da arte na Terceira Dissertação de "Para a genealogia da moral" de Nietzsche
Rodrigo Cumpre Rabelo
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