nietzsche art contemporain

/S 672 Bernard Reginster's essay, "Art and Affirmation," also centers on the role that illusions, in particular beautiful illusions, play in Nietzsche's early project of life affirmation. Even if I am wrong to read The Case of Wagner in this way, I am certainly not alone in highlighting the importance that laughter and comedy play in Nietzsche's later writings. With a number of substantive essays well worth engaging, the volume largely lives up to these expectations. In Nietzsche’s first published work, The Birth of Tragedy, he describes two divergent outlooks embodied by the ancient Greeks: the Apollonian and the Dionysian. Friedrich Nietzsche - From the Philosophy category: I do not know what the spirit of a philosopher could more wish to be than a good dancer. However, I find his ad hominem responses to Nietzsche a bit disappointing, perhaps even comical. Although Janaway rightly points to the way in which Dionysian art can affirm the truth without illusion, it is surprising that there is little discussion in the volume about two concepts that are crucial to Nietzsche's understanding of this phenomenon, namely, musical dissonance and play. Although Gemes and Sykes have cast doubt on Nietzsche's commitment to the Schopenhauerian metaphysics employed in the work, Nietzsche also associates the concept of play with the anti-metaphysical, naturalized ontology he attributes to Heraclitus in Philosophy in the Tragic Age of the Greeks in which individuals, like commonsense things, lack any fundamental reality. . Nous présentons ici des articles écrits par Evelyne Buissière, professeur de philosophie en classes préparatoires de lettres, au lycée Champollion de Grenoble. However, the point Wagner seems to be making is that art is a "life-saviour" not because it produces illusions, but rather because it shows life itself to be an illusion, and by showing life to be a "Wahn-picture," art allows us to experience life as a "game of play" (99). Nous avons la ressource de l'art de peur que la vérité ne nous fasse périr. 1. Membre de l’Académie florentine de l'art du dessin, 1963 Membre du Comité national du livre contemporain, 1965 Membre du Comité national de la gravure française; Membre de l'Académie royale flamande des sciences, des lettres et des beaux-arts de Belgique, 1971 0000007505 00000 n Elle a bien voulu mettre en ligne l'intégralité des cours qu'elle a rédigés pour un cours sur l'Art en philosophie, thématique qui était au programme du concours d'entrée à l'ENS Lyon en 2004. endobj 0000157606 00000 n He then claims that Nietzsche was immersed in the Romantic spirit of the time insofar as he held that music is immediately related to the essence of life and so music is the most important of the arts (224). /Pages 78 0 R Il s’agit d’une dissertation de philosophie qui porte sur le concept de « travail » et qui le questionne avec la problématique « est-ce que l’Homme est contraint ou obligé de travailler ? To be sure, the volume covers a broad range of themes. than Wagner's post-Christian philosophy of redemption" (250). After sketching the argument of The Birth of Tragedy, Scruton explains the philosophical differences that ultimately separated Nietzsche from Wagner. h |� s � 5 � I � � � &. Il y a un quart de siècle, la philosophie de Nietzsche était l'objet d’un livre au titre très unifiant et va-t-en guerre : Pourquoi nous ne sommes pas nietzschéens ? Comme les autres, cette page est loin d'être exhaustive ! ... Nietzsche affirme que la théorie du génie doué d'un talent naturel inné et inexplicable est fausse. Anonyme En désaccord avec son temps, c’est là ce qui donne à l’artiste sa raison d’être. 80 0 obj /E 164740 0000013578 00000 n Faut-il lire Nietzsche pour devenir profondément contemporain ? Although there is no discussion of the Tristan chord, the volume does conclude with two contributions devoted exclusively to music. Baroni, Christophe, Nietzsche éducateur. << Reginster ends by discussing further differences between Nietzsche's earlier and later understandings of beauty and artistic affirmation, claiming that, for the mature Nietzsche, tragedy incites us to engage with life and in creative activity rather than producing a deceptive and comforting view of life, as Nietzsche had claimed in his earlier works (34). xref 0000030334 00000 n Nietzsche's relationship to Schopenhauer also plays an important role in Ken Gemes and Chris Sykes' contribution, "Nietzsche's Illusion." This is not to say that Nietzsche's final works lack a serious message or that his ideas should be immune to criticism. 0000049381 00000 n /N 17 All nietzsche artwork ships within 48 hours and includes a 30-day money-back guarantee. The Birth of Tragedy, Nietzsche continues to stress the healing capacity of art through the creation of beautiful illusions without which we could not live (what in The Birth of Tragedywas … [11] In contrast, the present volume contains only one footnote on comedy in Plato (57n.1) and two references to laughter: whereas Lovibond briefly discusses Nietzsche's hope that future philosophers will overcome the "disabling heaviness" of past philosophy (202), Reginster cites the all-important conclusion of the 1886 preface to The Birth of Tragedy in which Nietzsche calls upon higher men to learn the this-worldly comfort of laughter (BT Pref 7) (22). [7] Nietzsche refers to the work as a "Farce" in a letter to Naumann on 7 September 1888 and a "Posse" in another letter to Naumann on 15 December 1888. 0000000017 00000 n /ID [<28bf4e5e4e758a4164004e56fffa0108><28bf4e5e4e758a4164004e56fffa0108>] On the one hand, they argue that the young Nietzsche "was never seriously wedded to Schopenhauer's metaphysics of the will as thing-in-itself" in The Birth of Tragedy (80). L'ivresse de l'art. Although I do have reservations about certain aspects of Mulhall's interpretation, such as his view that Socrates is a mask of Apollo, each of these essays sheds important light on Nietzsche's understanding of art and life, and therefore each makes a valuable contribution. Accessibility Information, Behold the Buffoon': Dada, Nietzsche's Ecce Homo and the Sublime. [5] Günter Wohlfart, "Also Sprach Herakleitos": Heraklits Fragment B 52 und Nietzsches Heraklit-Rezeption (Munich: Karl Alber Freiburg, 1991). Whereas Sabina Lovibond discusses matters of taste and distance in The Gay Science, Beyond Good and Evil, and Twilight of the Idols, Came' himself addresses the relationship between ethical and aesthetic value across Nietzsche's oeuvre. To address this problem, Nietzsche is said to follow Wagner, rather than Schopenhauer, in holding that illusion (Wahn), in the form of a "self-consciously constructed mythology," is needed to affirm life (81), and this, the authors argue, is a project Nietzsche pursues throughout his productive career. College of Arts and Letters [6] Eugen Fink, Nietzsche's Philosophy, trans. En dépit de son gout vif pour les cultures passées telles que l'Antiquité classique, ou de sa défense de certaines valeurs pré-modernes, Nietzsche demeure concentr… Sujet de la dissertation de philosophie: « Le travail n’est-il qu’une contrainte ? 81 0 obj Shop for friedrich nietzsche art from the world's greatest living artists. Thus, Janaway claims that the satyr chorus of dithyrambic art allows one "to live with the truth by confronting it in an affirmative frame of mind, not to live in spite of the truth by veiling it over" (45). Si un grand nombre de livres ont tenté de… >> According to Janaway, Reginster's 2006 account relies primarily on an Apollonian conception of art that affirms life through beautiful illusions (40). « Biblio Essais », 2003. >> (Grasset et Fasquelle, 1991). If this is right, one could argue that it was the experience of Wagner's Tristan chord that first revealed to Nietzsche how we can take pleasure in the pain of insatiable longing and so affirm a life that is essentially suffering. 0000000770 00000 n Although some might resist some of Denham's conclusions, the essay provides a detailed analysis of Schopenhauer's and Nietzsche's aesthetics that is well worth engaging. Whereas Wagner followed Schopenhauer in understanding redemption to be a form of renunciation, Nietzsche opposed this "sick" longing for death with a "healthy" affirmation of the self and life. L'art est pour Nietzsche le médium par lequel une vision tragique de la vie peut s'exprimer et prendre corps sans passer par une conceptualisation inévitablement lénifiante (car le concept est toujours optimiste ; au bout du compte, il y a toujours un gain pour le sujet penser, toute culture est Bildung, formation de soi). Copyright © 2021 Notre Dame Philosophical Reviews Raymond rightly argues that the originality of The Birth of Tragedy is that Nietzsche responds to Plato's expulsion of the poets in the Republic not by showing that art meets the ethical and epistemic criteria that Plato establishes as grounds for their re-admittance -- this is what Aristotle and Schiller try to do -- but rather by rejecting these very criteria. trailer Nietzsche loved art, because it was the highest kind of LIE. According to Denham, Nietzsche does reject the normative implications that Schopenhauer draws from aesthetic experience, but his understanding of aesthetic experience is nevertheless "continuous with Schopenhauer's own" (164). /T 275910 ), Nietzsche on Art and Life, Oxford University Press, 2014, 255pp., $74.00 (hbk), ISBN 9780199545964. /Length 804 Together, Nietzsche argues, these two ethoses birthed one of the world’s most famous art forms — the Athenian tragedy. 0000002038 00000 n Nietzsche's discussion of musical dissonance in the penultimate section of The Birth of Tragedy may be even more important in this context for two reasons. [9] Lawrence J. Hatab, Nietzsche's Life Sentence: Coming to Terms with Eternal Recurrence (London: Routledge, 2005), 155. 0000008780 00000 n Reviewed by Matthew Meyer, The University of Scranton. 0000013372 00000 n Il est un art nouveau, critique, et rebelle envers la technique et son règne. 0000015082 00000 n 0 Came rightly notes that Nietzsche is not interested in art per se but rather in its relation to life and the potential role it can play in affirming life, and it is to these topics that the volume is dedicated (1). Nietzsche Philosophie contemporaine. 0000157805 00000 n Daniel Came (ed. L'art contemporain. En témoignent son goût pour la musique (et la critique musicale) mais aussi sa prose, qui comportent beaucoup dornements poétiques. In the penultimate essay, Aaron Ridley emphasizes the central place that music has in Nietzsche's philosophy: "Music and conceptions of music run through and up and down Nietzsche's philosophy in a way that is true of no one else's" (220). This is because I read The Case of Wagner as a farce[7] and so part of a comic agon that Nietzsche enacts in his 1888 works, one that follows in the tradition of Aristophanic comedy of employing ad hominem insults to taunt artistic, political, and cultural rivals. Car la vie est en soi dépourvue de sens. Choose your favorite friedrich nietzsche designs and purchase them as wall art, home decor, phone cases, tote bags, and more! Choose your favorite nietzsche designs and purchase them as wall art, home decor, phone cases, tote bags, and more! 80 22 L'esthétique est l’une des branches traditionnelles de la philosophie. 0000030533 00000 n [3] However, Janaway does note that the more detailed reading of The Birth of Tragedy Reginster offers in the present volume reveals a good measure of agreement (41n.5). stream 0000158759 00000 n Ce que d’une certaine manière Nietzsche reprendra dans le Crépuscule des idoles quand il dira que c’est par la laideur que l’art est profond. Christopher Raymond situates The Birth of Tragedy in a conversation about tragedy that dates back to Plato's Republic. Cette maison rustique suisse, des hauteurs du village de montagne de Sils Maria, entre les lac de Sils, et lac de Silvaplana, de la vallée de l'Engadine, du canton des Grisons, à 1800 m d'altitude dans les Alpes suisses (un des plus hauts lieux habité d'Europe) est proche de Saint-Moritz, aux frontières de la Suisse, du Tyrol, et de lItalie2. “We have art so that we may not perish by the truth.” Good old Nietzsche said that. In what follows, I explain the ways in which the volume advances our understanding of Nietzsche, engage in some critical analysis of specific claims put forth by the contributors, and identify the aspects of Nietzsche's aesthetics the volume neglects. Anonyme Tout portrait qu’on peint avec … [10] Christine Battersby, "'Behold the Buffoon': Dada, Nietzsche's Ecce Homo and the Sublime," in Nigel Llewellyn and Christine Riding (eds. Lhomme façonne lunivers grâce au langage et aux idées. startxref Nietzsche thought humanity survived consciousness, survived sentience, by lying to itself about what it was and its own place in the universe. Il réalise en effet une critique du mouvement parnassien que l’on a aussi coutume d’appeler l’Art pour l’Art, selon l’expression de son principal inspirateur Théophile Gautier. Reginster also refers to play, but he argues that it is only possible "through a kind of deception or detachment" in that it requires us to identify exclusively with "primordial Oneness" and so to see ourselves "as other than we empirically are" (22). Thus, the goal of Nietzsche's 1888 The Case of Wagner is "to reject Wagner's moral vision, and also to suggest that the attempt to build that vision into a sustained work of art leads to music that is fundamentally sick" (243). Reginster, however, diverges from Gemes and Sykes' account on two points: first, he holds that the problem of suffering is Nietzsche's primary concern (15); second, he argues that there is a difference between Nietzsche's early and late works regarding the way in which beauty can affirm a life so characterized (14). << However, the authors try to distance Nietzsche from Schopenhauer on a couple of points. Whereas Nietzsche's views on metaphysics and epistemology seem to undergo a process of maturation, his views on the role that art plays in the affirmation of life seem to remain more consistent throughout his productive career. As such, it serves as a corrective to the tendency of Anglophone scholars to downplay the primacy of Nietzsche's "practical-existential orientation" (2) and to interpret his writings in isolation from his views on art (3). For my part, I see how music and dance -- the Dionysian arts par excellence -- can create and even lend significance to illusions, but I do not see how music and dance themselves affirm life through illusions. Plusieurs formats disponibles. On pourrait toutefois se demander si certains facteurs n’ont pas contribué à la naissance d’une autonomie du laid. On the standard reading, Nietzsche rejects Schopenhauer's account of aesthetic experience. However, it does omit some important aspects of Nietzsche's understanding of art and its capacity to affirm life, and so it seems to fall short of the promise, on the back cover, to discuss "all of the major themes of Nietzsche's aesthetics." All friedrich nietzsche artwork ships within 48 hours and includes a 30-day money-back guarantee. To conclude, this volume is an excellent collection of substantive essays by seasoned scholars on the topic of art and life in Nietzsche, and it marks an important step in reading Nietzsche's project through his "practical-existential orientation," rather than "the contemporary concerns of metaphysicians, epistemologists, and ethicists" (2). [1] See, for instance: "The Aesthetic Justification of Existence," in A Companion to Nietzsche, ed. B. Bachelard Gaston, L'air et les songes, Essai sur l'imagination du mouvement, Paris, José Corti, 1943. [2] Bernard Reginster, The Affirmation of Life: Nietzsche on Overcoming Nihilism (Cambridge, MA: Harvard University Press, 2006). [4] Came, "The Themes of Affirmation and Illusion," also appeals to the beginning of BT 18 to support this point (212), and eventually to conclude that, "the Dionysian too is itself inseparable from illusion" (223). Indeed, Scruton not only argues that Nietzsche fails to make this case but also responds to the insults Nietzsche hurls at Wagner with some insults of his own. Thus, Scruton claims that Nietzsche's own advocacy of "life" is "at best an excusable compensation for the invalid existence that the philosopher was obliged to lead, at worst a surrender to all that is most destructive in human nature" (248), and so Scruton concludes that it is "far more obviously a sham . 0000159095 00000 n 0000031484 00000 n K. Gemes and J. Richardson, 209-225 (Oxford: Oxford University Press, 2013). Nietzsche a beaucoup théorisé sur lArt dans la mesure où il est lui-même un artiste. According to Denham, Nietzsche does reject the normative implications that Schopenhauer draws from aesthetic experience, but his understanding of aesthetic experience is nevertheless "continuous with Schopenhauer's own" (164). [11] Nicholas More, Nietzsche's Last Laugh: Ecce Homo as Satire (Cambridge: Cambridge University Press, 2014). /Info 79 0 R [8] If this is right, then Scruton's own barbs only seem to continue the comic performance but in a way that is lost on Scruton. . Dans cet extrait Nietzsche s’attarde sur un mouvement artistique qui lui est contemporain et les thèses qu’il défend. Second, it arguably prefigures Reginster's understanding of the will to power as the overcoming of resistance. Cest lhomme qui est la … La formule « pop art » est une abréviation pour « art populaire ». Nietzsche sur l'art Un petit résumé des idées de Nietzsche sur l'art contemporain à lui, qui, je crois, sont tout à fait valables pour l'art de notre temps. According to Reginster, "the central message of The Birth of Tragedy is that the affirmation of life requires 'illusion [Illusion]', which allows us to 'forget' the displeasure caused by 'the weight and burden of existence'" (15). André Gide Le meilleur succès d’une création artistique c’est d’avoir fait du bien à son auteur. %���� However, the focus on themes such as truth, illusion, value, and beauty and the relative neglect of topics such as musical dissonance, play, laughter, and comedy do leave one wondering if the treatment of Nietzsche on art and life offered in this volume is still not subtly guided and so constrained by the very sociological forces in Anglophone Nietzsche scholarship that Came rightly identifies and ultimately hopes to overcome. ». For a genuine affirmation, it is necessary to confront and affirm the terrifying and questionable aspects of existence. ... délicatesse, meilleures ventes, arraché, meilleur vendeur, pomme, de téléphone, art contemporain, tendance, vieux, bonne affaire, designer, irlande, pop, … Art contemporain - Pierre-Yves TREMOIS - Nietzsche gravure, bon à tirer signé au crayon Dimensions de l'oeuvre: 64 cm x 47 cm Dimensions de l'image: 64 cm x 47 … Nietzsche, dans ce texte écrit en 1874, évoque un pan très célèbre de sa pensée, à savoir, l’usage du passé pour la conquête du présent. In contrast to Reginster, who follows Gemes and Sykes in arguing that the tragic itself is a form of illusion (see BT 18),[4] Janaway holds that Nietzsche endorses a Dionysian affirmation of Dionysian truth. Adrian del Caro explores romanticism and classicism through a comparison of Nietzsche's Thus Spoke Zarathustra with Goethe's Faust, and Stephen Mulhall examines the form of The Birth of Tragedy, presenting the work as a site for a "three-cornered conversation" between Aeschylus, Wagner, and Schopenhauer (108). 0000014527 00000 n Friedrich Nietzsche, Nietzsche quote, Nietzsche print, Nietzsche art, Nietzsche poster, Nietzsche decor, Nietzsche wall art, Nietzsche gift AnaGenessis. He begins by disputing the claims put forth by Reginster in his 2006 book, The Affirmation of Life,[2] and further defended in this volume[3] that affirmation in The Birth of Tragedy depends largely on beautiful illusions, so that there is a disparity between affirmation in Nietzsche's early and late works. Il s'agit de dégager de l'étude des différentes formes d'art des lois permettant de répondre à cette question. /H [ 872 877 ] L'art contemporain remet en question la singularité des œuvres d'art, elles ne sont plus uniques ou originales. According to Reginster, the mature Nietzsche tries to resolve this issue through his concept of the will to power as the overcoming of resistance, one that makes suffering a constituent feature of happiness (26). /Prev 275898 /L 277634 After explaining how Nietzsche saw his own philosophy as a sort of music and examining Nietzsche's eventual rejection of Wagner's Parsifal in favor of Bizet's Carmen, Ridley concludes by arguing that because Nietzsche saw in music the potential to "redeem the world" and so save us from the nihilism of modernity, it would not be wrong to say that, for him, "the 'fate of music' is intimately tied up with the fate of the world itself" (233). Indeed, A. E. Denham argues that Nietzsche is even more indebted to Schopenhauer than is typically recognized. The idea is that both musical dissonance and the willing of power combine pleasure and pain and so both seem to enable the affirmation of the ugly and disharmonic elements of existence (BT 24). Avant de présenter et danalyser la théorie nietzschéenne de lart, donnons quelques éléments de contexte. 101 0 obj Un grand artiste, c’est un grand homme dans un grand enfant. In the final essay, Roger Scruton explores Nietzsche's relationship to Wagner, prefacing his discussion with the claim that Nietzsche's divorce from Wagner needs "to be discerned within a cloud of self-loathing" (236). /O 82 C’est la question qui a mobilisé 17 auteurs. 0000008463 00000 n For this reason alone Nietzsche's Philosophy of Art is a welcome addition to the growing literature on Nietzsche in English. This collection comes with high expectations. /Names << /Dests 42 0 R>> On the standard reading, Nietzsche rejects Schopenhauer's account of aesthetic experience. The focus on the relationship between artistic beauty, on the one hand, and truth, on the other hand, continues in Christopher Janaway's contribution. Un texte qui dès les premières pages m’a en effet paru particulièrement éclairant sur les différentes inflexions que pouvaient prendre le « contemporain ». Ridley first examines Nietzsche's own musical tastes, arguing that Nietzsche was a conservative on such matters (222). PtahHotep Un artiste sans inspiration est comme un navire sans gouvernail ni pilote. Although Nietzsche is right, in Scruton's view, to assess music according to moral categories, he argues that Nietzsche fails to show that "the Wagnerian philosophy of redemption is either decadent in itself or aesthetically destructive" (243). Bien qu'il développe des arguments contre la démocratie, le libéralisme ou les différents mouvements sociaux progressistes, son attaque est au moins partiellement réalisée dans le style moderne des Lumières, réfutant les idées existantes au nom d'un avenir meilleur. G. Richter (London: Continuum, 2003) and Lawrence M. Hinman, "Nietzsche's Philosophy of Play," in Philosophy Today 18(2) (1974): 106-124. endobj Play is important for Nietzsche because it reveals the joy we can take in both creation and destruction and so enables us to affirm the ugly and disharmonic elements of the world. ISSN: 1538 - 1617 De l'originalité à petits prix pour vos murs tout nus. As Ken Gemes and Chris Sykes note at the beginning of their essay, Came's own scholarship has shown that there is a thematic continuity between an early work like The Birth of Tragedy (BT) and Nietzsche's more canonical works like Beyond Good and Evil and On the Genealogy of Morality (GM) (80). Pour Nietzsche, lhomme est la source à laquelle prend racine lunivers. >> Nietzsche affirme ainsi, au paragraphe 162 de Humain, ... Ainsi, l'art contemporain représente le refus des codes techniques archaïques et des représentations mythologiques. Les œuvres d'art, comme les autres produits, peuvent être reproduites ou produites en série. Although Gemes and Sykes refer to play in a passage they quote from Wagner, they do so to argue the larger point that Nietzsche follows Wagner in holding that Wahn is necessary to make life bearable. Professeur de philologie à l’université de Bâle, il publie plusieurs ouvrages tels que le Crépuscule des Idoles, le Gai Savoir, Ainsi parlait Zarathoustra…Il s’attaque au nihilisme sous-jacent qu’il décèle dans la religion ou la morale. Victor Hugo L’art n’a pas de limite et aucun artiste ne possède la perfection. First, it is free from the metaphysical baggage that Nietzsche initially associates with the concept of play. /Type /Catalog Ici j'expose rapidement quelques tendances majeures de l'art contemporain. Nietzsche et l'esthétique, Le Livre de poche, coll. Posters et affiches d'artistes indépendants sur le thème Friedrich Nietzsche. /P 0 /Outlines 60 0 R ), The Art of the Sublime, January 2013, accessed 17 December 2014. De l'originalité à petits prix pour vos murs tout nus. Not only is there good reason to think the mature Nietzsche remains true to this Heraclitean ontology, scholars such as Günter Wohlfart have shown how the concept of play appears in Nietzsche's later works,[5] and it is for this reason that interpreters such as Eugen Fink and Lawrence Hinman have argued that play is central to Nietzsche's entire project.[6]. Nietzsche, grand critique de la modernité, en incarne néanmoins l'esprit et l'éthique. Thus, I side with Janaway in thinking that the Dionysian arts of music and dance provide an illusion-free affirmation of Dionysian truth and so in holding that although tragedy does affirm life through illusions, it also affirms life through the intoxication (Rausch) and play that Nietzsche associates with the Dionysian arts. 0000000872 00000 n /Size 102 Scruton's essay is certainly engaging. << 4.5 out of 5 stars (1,061) 1,061 reviews $ 9.70. Nietzsche est un philosophe allemand du 19ème siècle (1844-1900). Nietzsche believed that the central task of philosophy was to teach us to 'become who we are'. /Root 81 0 R It is, however, to say that it would behoove readers to consider the possibility that Nietzsche's references to "jokes" and "pure malice" in the preface of The Case of Wagner are subtle hints that his critique of Wagner, like his critique of Christian morality, is part of his own Dionysian comedy (GM Pref 7). However, Nietzsche eventually comes to doubt the idea that beautiful illusions can underwrite a genuine affirmation (23). K. Ansell-Pearson, 41-57 (Oxford: Blackwell, 2006) and "The Themes of Affirmation and Illusion in The Birth of Tragedy and Beyond," in The Oxford Handbook of Nietzsche, ed. Friedrich Nietzsche spent six consecutive winters in Nice, ... Museum of Asian Art, Musée d'art moderne et d'art contemporain which devotes much space to the well-known École of Nice ”), Museum of Natural History, Musée Masséna, Naval Museum and Galerie des Ponchettes. Posters et affiches d'artistes indépendants sur le thème Nietzsche. In the latter half of his essay, Janaway explores Nietzsche's views on the relationship between art and truth, correctly noting that Nietzsche's early critique of Socratism prefigures his later questioning of the will to truth (47). On peut définir la philosophie de l'art, ou l'esthétique, comme cette discipline qui cherche à répondre à la question : qu'est-ce que la beauté ?, ou qu'est-ce qu'une oeuvre d'art ?Donc qui cherche à penser le phénomène de l'art.

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