By Günter Abel
Nietzsche-Studien (Nietzsche stories) is the world’s best physique of Nietzsche examine. It publishes contributions from all disciplines that care for Nietzsche’s existence, paintings, and influence and that focus the relevance of his pondering for present debates. The sequence isn't devoted to any specific institution of idea or interpretation. It publishes works in German, English, and French, and contours essays, discussions, documentary study, investigations of basic resources, contributions to reception stories, miscellanea, and stories. All submissions are subjected to a double-blind peer evaluate approach. in addition, every one quantity within the sequence comprises indexes of basic resources, names, and secondary literature. present guidance for manuscript submissions are available on the finish of the newest volume.
Vol. 34.
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Additional info for Nietzsche-Studien: Internationales Jahrbuch für die Nietzsche-Forschung, Volume 34
60 f. Ebd. , S. 60. In Heideggers „System“ der Künste wird die Musik noch nicht einmal genannt, wenn es unter der Vorrangstellung der Dichtung heißt: „Bauen und Bilden dagegen geschehen immer schon und immer nur im Offenen der Sage und des Nennens. “ „Nennen“ aber im Sinne der Eröffnung des Seins des Seienden „im Gefüge seiner Gesammeltheit“ vermochte bisher nur die große griechische Dichtung (namentlich Sophokles’ Antigone und Hölderlins Dichtung), so Heidegger in: Einführung in die Metaphysik, a. a. O. , S. 131. In diesem Zusammenhang sollte guy nicht vergessen, dass Nietzsche der „Ehrgeiz des großen Stils“ der Wagnerschen Musik „Stil-Unfähigkeit“ bedeutet. Nachlass November 1887 – März 1888, KSA thirteen, 11[321], S. 134. Nietzsche denkt an das „Gesetz der Plastik“. NW, Wagner als Gefahr, KSA 6, S. 422. Nachlass November 1887 – März 1888, KSA thirteen, 11[323], S. 136; Nachlass Frühjahr – Sommer 1888, KSA thirteen, 16[89], S. 517. Nachlass Frühjahr – Sommer 1888, KSA thirteen, sixteen [48], S. 502. Nachlass August – 1885, KSA eleven, 41[2], S. 673. 146 Iris Därmann nicht nur dazu, dessen „wesentliche Abkehr von Wagner“ zu unterschreiben (N I, S. 108), sondern auch dazu, dem Rausch insgesamt den Kredit zu entziehen. Mit Nietzsche (6. ) erreicht schließlich die von Heidegger entworfene Geschichte der Ästhetik ihren konsequenzenreichsten Höhepunkt. In dem Maße, in dem mit und seit Nietzsche die absoluten Wahrheiten und „“obersten Werte““ von „Religion, ethical, Philosophie“ (N I, S. 108) irreparabel zu Schaden kommen, sucht dieser in der Kunst eine „Gegenbewegung“ (Nachlass 1888, KSA thirteen, 14[117], S. 293).