Publication: Descubrir e inventar. Sintonías y discordancias entre ciencia y arte en la obra de Friedrich Nietzsche
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2018-01-12
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Universidad Complutense de Madrid
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Abstract
A lo largo del siglo XX han existido multitud de corrientes filosóficas, artísticas o literarias que se han denominado herederas directas del pensamiento nietzscheano. Corrientes a veces diamentralmente opuestas en sus reivindicaciones, pero que sosteniendo una cita, un fragmento o una obra extraída de Nietzsche hacían gala de una energía crítica y renovadora no exenta a menudo de ciertos peligros. Nietzsche como pretexto para cambiar el mundo, es algo que quizá podría resumir el anhelo común de todas estas corrientes. El estilo nietzscheano es algo inédito en el panorama filosófico, su escritura renuncia a la voluntad de tratado, podemos encontrar a menudo un párrafo en el que defiende una idea y en otras obras encontrar la defensa de algo que podría resultar contrario. La escritura de Nietzsche está viva y es difícil reducirla a un lugar claro y distinto. En esta investigación hemos querido tratar de la voluntad de estilo como búsqueda personal de una moral que no renuncia a su perspectiva estética. La afinidad con del gusto moral posee una raíz fisiológica que sólo encuentra expresión en el arte. Para llegar a tal cometido hemos querido repasar el periodo intermedio (1876-1884) del pensamiento nietzscheano. En dicho periodo hemos encontrado complicidades con la ciencia y una defensa de la metodología científica como condición de posibilidad de la liberación de las fuerzas activas y con ello de la creatividad. También hemos intentado afirmar que todo conocimiento, desde la perspectiva genealógica, posee un detonante creativo, esto es, cualquier disciplina del saber ha venido al mundo por medio de una invención. Vivir es inventar, el problema deviene cuando el saber aspira a la verdad, a la asunción de una única perspectiva que es incapaz de asumir un rostro bifronte...
Throughout the twentieth century there have been a multitude of philosophical, artistic or literary currents that have relationated with Nietzschean thought. Currents sometimes diametrically opposed in their claims, but they have taken a quotation, a fragment or a work extracted from Nietzsche as critical and renewing energy, often not exempt from certain dangers. Nietzsche as a pretext to change the world, perhaps it is sum up the common yearning for all these currents. The Nietzschean style is something unheard of in the philosophical panorama, its writing renounces the will to treatise, we can often find a paragraph in which defends an idea and in other works find the defense of something that turn out to be contrary. Nietzsche's writing is alive and it is difficult to reduce it to a clear and distinct place. In this research we wanted to deal with the will to style as a personal search for a moral that does not give up its aesthetic perspective. The affinity with the moral taste possesses a physiological ground that only finds expression in the art. We review the intermediate period (1876-1884) of Nietzschean thought to defend this idea. In that period we have found complicities with science and a defense of the scientific methodology as a condition of the possibility of the liberation of the active forces and creativity. We have also tried to affirm that all knowledge has a creative detonator, from the genealogical perspective. Any discipline of knowledge has come into the world by means of an invention. To live is to invent, the problem becomes when the knowledge aspires to the truth or the assumption of a single perspective is incapable of assuming a twofold face...
Throughout the twentieth century there have been a multitude of philosophical, artistic or literary currents that have relationated with Nietzschean thought. Currents sometimes diametrically opposed in their claims, but they have taken a quotation, a fragment or a work extracted from Nietzsche as critical and renewing energy, often not exempt from certain dangers. Nietzsche as a pretext to change the world, perhaps it is sum up the common yearning for all these currents. The Nietzschean style is something unheard of in the philosophical panorama, its writing renounces the will to treatise, we can often find a paragraph in which defends an idea and in other works find the defense of something that turn out to be contrary. Nietzsche's writing is alive and it is difficult to reduce it to a clear and distinct place. In this research we wanted to deal with the will to style as a personal search for a moral that does not give up its aesthetic perspective. The affinity with the moral taste possesses a physiological ground that only finds expression in the art. We review the intermediate period (1876-1884) of Nietzschean thought to defend this idea. In that period we have found complicities with science and a defense of the scientific methodology as a condition of the possibility of the liberation of the active forces and creativity. We have also tried to affirm that all knowledge has a creative detonator, from the genealogical perspective. Any discipline of knowledge has come into the world by means of an invention. To live is to invent, the problem becomes when the knowledge aspires to the truth or the assumption of a single perspective is incapable of assuming a twofold face...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filosofía, Departamento de Historia de la Filosofía, Estética y Teoría del Conocimiento, leída el 12/07/2017