Publication: La risa del filósofo es, si acaso, un baile
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2015
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Ápeiron Ediciones
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Abstract
Este artículo explora la oposición y conexiones entre la noción de espíritu trágico de El Nacimiento de la Tragedia y Así habló Zaratustra. El hilo conductor del escrito es el uso literario y vital que hace Nietzsche de la danza, la cual aparece como límite del pensamiento. La tesis que expongo es que la danza aparece como imagen de la resignificación crítica, irónica y jovial del último Nietzsche hacia su primera noción de espíritu trágico de 1872, influida fuertemente por la melancolía y el romanticismo.
This article explores the opposition and connexions between the concept of tragic spirit in the books The birth of tragedy from the spirit of music and Thus spoke Zarathustra. The leading thread is Nietzsche’s narrative and vital use of dance, which appears as a limit to thought. The these that I propose is that dance appears as an image of the critical, ironical, and jovial resignification that the old Nietzsche makes to his first notion of the tragic spirit from 1872, which was strongly marked by a melancholic inclination and Romanticism.
This article explores the opposition and connexions between the concept of tragic spirit in the books The birth of tragedy from the spirit of music and Thus spoke Zarathustra. The leading thread is Nietzsche’s narrative and vital use of dance, which appears as a limit to thought. The these that I propose is that dance appears as an image of the critical, ironical, and jovial resignification that the old Nietzsche makes to his first notion of the tragic spirit from 1872, which was strongly marked by a melancholic inclination and Romanticism.