An Experimental Physics of Moral Life - Gaston Bachelard’s Nietzsche -

LEE, Sunjoo(이선주) 중앙대학교 중앙철학연구소 2021 철학탐구 Vol.61 No.-

가스통 바슐라르는 프랑스의 니체 수용사에서 중요하게 여겨지지 않았다. 이 논문은 『공기와 꿈』의 「니체와 상승적 정신 심리」 장에 집중하면서 바슐라르의 니체 독해가 갖는 의의를 살핀다. 바슐라르의 니체는 자연주의와 도덕 사유가 긴밀히 연합하는 독특한 사례를 제시한다. 바슐라르는 니체의 공기적 상상력에 민감히 반응하면서 이 연합이 분명히 드러나게 한다. 바슐라르의 이해에 따를 때, 니체는 도덕적 삶의 실험 물리학자다. 자연주의와 자연주의적 도덕 철학은 현재 니체 연구에서 뜨겁게 논의되는 주제이고, 이 논문은 바슐라르의 니체가 이 논의에 하게 될 기여가 있다고 제안한다. 바슐라르가 보는 니체, 그리고 바슐라르 자신에게서, 자연주의는 감정과 사유의 쇄신, 인식론의 쇄신과 연관된다. 이들의 자연주의가 품고 있는 이성비판의 요소, 이들이 제시하는 인식과 감수성의 새로운 모델을 검토하면서 자연주의의 좀더 유연하고 넓은 이해를 확보할 수 있을 것이다. Gaston Bachelard has not been considered a major figure in the French reception of Nietzsche. In this paper, I discuss Bachelard’s reading of Nietzsche in the chapter “Nietzsche and the Ascensional Psyche” in Air and Dreams and elsewhere as a unique case where naturalism and moral thought are closely allied to each other. This alliance is brought to light by Bachelard’s receptivity to Nietzsche’s aerial imagination. Naturalism and naturalist moral philosophy are currently among the most heatedly debated topics in Nietzsche scholarship; I propose Bachelard’s Nietzsche – an experimental physicist of moral life, according to Bachelard’s formulation – has a contribution to make in the debate. Naturalism in Bachelard and Nietzsche is propelled by a desire to seek ways to think and feel differently – a desire to renovate epistemology. The critique of reason implicit in it and the new models of knowledge and sensibilities they present will add to our understanding of Nietzsche"s naturalism and naturalism more broadly.

니체의 디오니소스적 관점에서 본 축제 연구

김민희,박미영 국제문화&예술학회 2023 국제문화예술 Vol.4 No.1

Purpose: This study is a thesis that philosophically examines the Dionysian in Nietzsche’s book The Birth of Tragedy in connection with the festival. Methods: The correlation between the festival and Nietzsche’s Dionysian was examined through a literature review and previous studies, and the two artistic impulses of the Apollonian and the Dionysian were analyzed for the specific elements of freedom, intoxication, and deviation in the festival. Result: Nietzsche’s Dionysian art shown in festivals is first, the festivals appear in the physiological aspect of the body’s vitality and ecstasy. Nietzsche’s ideas stand out. Second, the festival is Dionysian in which order and individualization are destroyed based on freedom based on Nietzsche’s philosophy. Thus, the destruction of individuation is characteristic of a natural and free festival in which particularity is universalized. Third, in the festival, a series of actions to dream of deviation and to enjoy life like play through the ego hidden behind a mask were variously integrated into culture and emotion. Conclusion: The Dionysian as Nietzsche’s fundamental existence in the Greek tragedy festival is a festival as a great play to enjoy, understand, and affirm human life and realize the wisdom of tragedy. The festival is an art in which the mythical prototype is melted, and the festival of Dionysus remembers the creation and extinction of the world and puts human nature into the festival to erupt and resolve it. Nietzsche’s Dionysian philosophy of art found the problem of human existence in art, and in conclusion, festivals, as Nietzsche’s Dionysian art, have maintained their true existentialist cultural arts.

트랜스내셔널 지성사 다시 쓰기: 식민지 시기 ‘한국적 니체’의 생애연구, 1920〜1945

육영수 한국세계문화사학회 2015 세계 역사와 문화 연구 Vol.0 No.34

Friedrich Nietzsche was one of the most influential and controversial modern thinkers in Europe. As an intellectual idol and the central symbol of the post-Christian and post-Modern era, Nietzsche was widely consumed in East Asia at the turn of the Nineteenth century. A few Korean intellectuals also became ardent followers of Zarathustra during Japanese colonial rule. In order to reappraising the characteristics and historical legacies of Korean intellectuals’ encounter with Nietzsche between 1920-1945, the paper raises the following questions. Why had been Korean intellectuals attracted to this German prophet of extremity, and how had they appropriated and propagated Nietzschean philosophy for the purpose of reforming traditional Korean society and thus modernizing colonialized Korea? How differently/commonly Japanese, Korean, Chinese intellectuals had received and perceived Nietzsche’s works and collectively contributed to establishing East Asian discourse on Nietzsche? By answering these questions, the author intends to re/over-write an alternative transnational intellectual history based on the mode of ‘border thinking.’ 본 연구는 프리드리히 니체(Friedrich Nietzsche, 1844〜1900)의 사례를 중심으로 서양사상의 한국적 수용 및 전유과정과 그 지성사적 성격과 특징을 전 지구적(global) 관점에서 재조명하는 것을 기본목표로 한다. 특정 인물과 사상이 국경선을 넘나들며 얽히는 혼종성과 상호교류성에 주목하여 1920-1945년을 이 땅에서 살았던 ‘니체의 한국적 삶’을 재구성해보려는 것이다. 이를 위해 본문에서 제기한 핵심적인 질문들을 다음과 같다. 니체 사상은 누구를 대상으로 전파되고 그 과정에서 ‘오리지널’ 사상은 식민시대 조선의 사상적 전통과 어떻게 굴절·충돌하는가? 조선지식인들은 그들이 직면했던 1920년대와 1930년대라는 각기 다른 역사적 콘텍스트에 비춰 ‘같은 제품’을 어떻게 다른 포장과 내용으로 재창출했는가? 20세기 전반 조선지식인들이 재구성했던 니체의 생애는 같은 시기 중국·일본 지식인들의 그것과 어떻게 구별되거나 공통적인가?이런 질문들에 대답을 모색함으로써 니체사상을 식민지 조선이라는 공간에 유폐시키는 대신, 일본·중국 지식인들과 교류·소통하면서 형성된 동아시아의 ‘엉킨 지성사’를 입체적으로 서술하기를 제안한다. 니체를 일국적(一國的) 경계로부터 탈영토화 시켜 근대 서양과 동아시아의 안팎을 왕래했던 디아스포라 유랑자로 재조명함으로써 ‘경계 사유’(border thinking)’에 입각한 트랜스내셔널 시대의 대안적인 지성사 서술에 도전해 보려는 것이다.

鲁迅与沈从文的尼采接受研究 -20年代文学经典化与尼采中国化为中心-

高建惠 영남중국어문학회 2021 중국어문학 Vol.- No.88

Nietzsche was introduced to China as a writer in the early 20th century, and he had a greater influence in the literary world than in the philosophical world. Lu Xun was a pioneer of modern Chinese literature and a crucial figure in the process of Nietzsche's sinicization. He is known as “China's Nietzsche”. In the 1920s, Lu Xun had become the center of the literary world. The canonization of Lu Xun in the literary world and the Sinicization of Nietzsche were a complementary process. At this time, Shen Congwen, another classic writer in the history of modern Chinese literature, appeared in the literary world, but he was only a marginal figure. With the gradual canonization of Shen Congwen, he opened up a new realm of “Lu Xun's Nietzsche” in the second half of the 1920s and deepened Nietzsche's influence in China. It is generally believed that,after 1925, Nietzsche's upsurge in China has ebbed, but from the perspective of Shen Congwen's acceptance of Nietzsche's art and aesthetics, Nietzsche not only did not “ebb” in literary and artistic aesthetics, but was continued and deepened in modern Chinese literature.

엘리엇과 니체: 개성배제론의 탄생

김병옥 한국T.S.엘리엇학회 2005 T.S. 엘리엇 연구 Vol.15 No.1

The purpose of this paper is to examine how Eliot’s and Nietzsche’s epistemological frames are compatible with each other. Although there is no evidence that Eliot’s literary taste was affected by Nietzsche’s thought, there seems to be a discernable continuity in impersonal theory between them. Philosophy, Nietzsche thought, was bound by epistemological dilemmas. So was it in Eliot’s view while he was a student of philosophy. Both of them meditated on a way out of the fix that philosophy had raised. As a solution, Nietzsche asserts in The Birth of Tragedy the primacy of art over philosophy. In his view the world of art was a Dionysian affirmation of the world as it was without subtraction, exception, or selection. The knowledge of self through art was not a sign that art was purely personal and subjective. Rather, art demanded a triumph over personal will and desire, simultaneously rejecting personal feelings and embodying objectivity. Eliot’s poetics is in substantial agreement with Nietzsche’s in this regard.

Moral Philosophy at Crossroads: Use and Abuse of Nietzsche in Dialectic of Enlightenment

이선주 한국하이데거학회 2019 현대유럽철학연구 Vol.0 No.55

Theodor Adorno in his lecture on moral philosophy in 1963 declared the state of moral philosophy at present as practically bankrupt. About two decades before that, in Dialectic of Enlightenment, which he co-wrote with Max Horkheimer, morality itself is nullified before the all-out, self-critical, destructive force of the Enlightenment reason. This paper examines Adorno's reading of Nietzsche in light of his prognosis of the impotence of moral philosophy. In the 1963 lecture on moral philosophy, Adorno presents Thus Spoke Zarathustra as a recent example of moral philosophy's failure. In Dialectic of Enlightenment, Nietzsche is grouped together with Kant and Sade — "dark writers of the bourgeoisie" — and presented to have led, under the banner of scientific rationality, the Enlightenment's demolition of morality and moral philosophy. This paper suggests Adorno's view on the impossibility of moral philosophy has to do with his narrow, tendentious reading of Nietzsche. Gaston Bachelard's reading of Nietzsche is discussed, as one way of reading him differently. Bachelard reads Nietzsche as an innovative moral philosopher, who reconceived moral philosophy in uniquely naturalistic terms. A Nietzscheanly recast, naturalistic moral philosophy is a road not taken for moral philosophy in Adorno's thought.

마크 로드코(Mark Rothko) 작품에 내재된 디오니소스적 정신의 수용과 변용에 관한 고찰: 니체의 『비극의 탄생』을 중심으로

이인희 한국하이데거학회 2019 현대유럽철학연구 Vol.0 No.54

Mark Rothko is one of the representative painters who is identified with color-field abstract expressionism. Rothko himself refused to be judged by critics with formalistic perspective and referred his work with his own philosophy which tugs at the heartstrings with arts through penetration of human life. At the root of Rothko’s presentation of philosophy of art had been the influence of Friedrich Nietzsche's The Birth of Tragedy. According to Nietzsche, art develops into the duality of Apollo and Dionysian. While Apollonian is the principle of individualization, Dionysian realizes the destruction of individualization, the phase of self-surrender. Nietzsche's Dionysian spirit manifests itself in various aspects of his work. The way of surrealism of tragic mythology, the expression of duality through various color-fields, the huge screen and the theatrical way to create space as being intoxicated reveal that he is not a simple non-representationalist. At the base of Rothko's art philosophy, which pursued such tragic, musical, dramatic and intoxicated paintings, there was Nietzsche's spirit of Dionysus. The will transcending the human finitude and the tragic nature of existence comes to loftiness through his gigantic screen. 마크 로드코는 미국 추상표현주의의 색면 회화로 대표되는 작가이다. 그는 자신의 작품에 대한 평론가들의 형식주의적 관점을 부정하고, 인간 삶의 통찰을 통한 ‘가슴에 사무치는 미술’이 자신의 철학임을 밝힌다. 그의 이러한 예술 철학의 근저에는 니체의 『비극의 탄생』이 있었다. 니체에 의하면 예술은 아폴론적인 것과 디오니소스적인 것의 이원성으로 전개된다. 아폴론적인 것이 개별화의 원리인 반면 디오니소스적인 것은 개별화의 파괴, 즉 망아의 단계를 실현한다. 니체의 디오니소스적 정신은 로드코의 작품에서 다양한 양상으로 나타난다. 비극적 신화의 초현실주의적 방식, 다양한 색면을 통한 이원성의 표현, 거대한 화면, 도취로서의 공간 창출을 위한 연극적 방식 등은 그가 단순한 추상주의자가 아님을 보여준다. 이처럼 비극적, 음악적, 드라마와 도취로서의 회화를 추구했던 로드코의 예술 철학의 기저에는 니체의 디오니소스적 정신이 있었다. 인간의 유한성, 실존의 비극성을 초월하고자 하는 의지는 그의 거대한 화면을 통해 숭고로 다가온다.

예이츠의 시에 나타난 니체의 힘에의 의지

이소영 한국예이츠학회 2008 한국예이츠 저널 Vol.30 No.-

This paper aims to study Yeats and Nietzsche through Nietzsche’s “Will to Power” in some of Yeats’s poems. In 1902, Yeats first read Nietzsche’s works; through Nietzsche Yeats’s voice turned into a manly voice. An internal conflict appears as a Mask theory in Yeats's poetry. Self and Anti-self (Mask) are two components in the Mask theory. While Will is an internal and subjective self, Mask is a social and objective self. The internal conflicts between Will and Mask determine the human mind. Yeats’s “Mask” and “Ego Dominus Tuus” exemplify Will to Power as an internal conflict. Nietzsche’s Will to Power is a concept of quantity based upon the law of energy preservation refusing causality, the movement ascending and descending and the eternal recurrence of the same. Similarly, Yeat in his A Vision has rewritten a European history based upon the theory of opposite forces in a gyre. He classifies personalities into 28 types based one phases of the moon. Assigned to Phase 12, the phase of heroic man who overcomes himself, Nietzsche is a forerunner; who is fragmentary, violent, and subjective. Perspectivism, a kind of Will to Power, is a plural and relative point of view that is classified into 4 categories; Will to Power as knowledge (Leda and the Swan), art (Ego Dominus Tuus), love (Crazy Jane Grown Old Looks at the Dancers), and truth (Demon and Beast). In conclusion, Yeats’s later poems achieve a creative and powerful voice when he thinks and speaks with Nietzsche; in particular, Nietzsche’s Will to Power, a philosophy of Being and Becoming, is echoed in some of Yeats’s later poems.

니체의‘주체성’논쟁이‘현대’의 교육, 교육학에 주는 시사점

최재정(Choi, Jaijeong) 한독교육학회 2013 교육의 이론과 실천 Vol.18 No.2

르네상스 이후 19세기말까지 서구 사상사를 압도적으로 지배했던 사고의 틀을 ‘모더니즘’(modernism)이라고 칭할 수 있다면, 20세기 즉 ‘현대’(contemporary age)에 들어서면서 여러 가지 차원에서 최근까지 논의되어 온 문제는 바로 근대의 중심적 주제였던 모더니즘 과의 대결일 것이다. 20세기, 즉 현대에 들어서면서 서구 유럽을 중심으로 해서 실로 다양한 방향에서 전개되어온 논의들은 거의 예외 없이 교육내지는 교육학과 밀접한 관련성 하에 있을 수밖에 없다. 본 논문에서는 현대 서양 사상계의 지적 기류를 형성하는데 있어서 가장 핵심적이며 결정적인 역할을 하고 있다고 판단되는 사상가인 니체(F. Nietzsche)의 핵심적인 개념 및 ‘주체성’(Subjectivity) 개념을 둘러싼 논쟁들을 중심으로 하여 우리가 현재 몸담고 있는 사회의 제반 현상, 혹은 문제들의 형성 배경 및 원인, 더 나아가 앞으로의 변화 동향에 대해 탐색하고, 그것이 교육의 이론과 실천 양 면에서 가지고 있는 의미와 시사점들을 도출해내는 일을 주요 주제로 삼고 있다. The overwhelmingly dominant framework of thinking in Western Europe from the Renaissance to the late 19th century can be called als ‘Modernism’. Now in the ‘contemporary age’ since 20th century one of the main themes of discussions in the field of philosophy is the confrontation with the concept of ‘Modernism’, which is almost without exception very closely related with the main disciplines of the education and pedagogy in the ‘modern’ age. In this paper I focus mainly on core ideas and concepts of the thinker F. Nietzsche, who played the most vital and crucial role regarding the transition of Western Thought from the ‘modern’ to ’contemporary’ era. Since 20th century especially the meaning of ‘human being’ and ‘subjectivity’ has been changed radically by F. Nietzsche, it causes actually the birth and development of ‘Post’-modernism. This paper aims to see and describe the causes of various problematic phenomena in the contemporary society, particularly in view of F. Nietzsche and his descendents, ‘post-modernists’. The results of this paper revealed the following points. First, the ‘contemporary’ age is in the midst of the fierce battle with ‘Modernity’, especially with modern ‘logos-centrism’, ‘rationalism’, ‘totalitarianism’. The collapse of the mainstream of ‘Modernity’ has been declared by Nietzsche’s theme: ‘God is dead’. Since the metaphysical world has been destroyed thoroughly by him, the era of anti-rationalism, romanticism, nihilism, pluralism, multiculturalism has begun. Second, the human existence is no longer within the grasp of modernity, so that the category identity does not mean anything, and human existence is no longer ‘good’, nor ‘rational’. Nature, environment is no longer passive one, nor given to human being with capacity to rational judgement and free will. ‘Subjectivity’ of human being lost through the process of destruction by Nietzsche and the post-modernists the power over the ‘Objectivity’. In order to cope with these dramatical changes of the main concepts of ‘Modernity’, we must try to construct the new ideal of human being, that is, ‘proto-humanism’. For this new concept of humanism we need new system, contents and methods of education, which try to enlarge the capacity to ‘tolerance’ and the excellence of ‘communication-ability’ of students.

스크리아빈의 사유하는 춤: 《두 개의 춤》에 대한 철학적 탐색과 분석적 재고

최원선 이화여자대학교 음악연구소 2022 이화음악논집 Vol.26 No.3

This article explores Alexander Scriabin(1872-1915)’s Deux danses, Op. 73(1914) through the correlation of dance with the philosophy of Friedrich Nietzsche(1844-1900). The ultimate goal of this study is to offer a new perspective on the analysis of Scriabin’s music. Scriabin’s musical change was triggered by the ideas of Nietzsche. Nietzsche treated human body as the most important entity of ontological value, leading dance to a central role in cultural discourse, and in Nietzsche’s thinking, dance has the meaning of an art aesthetic that forms a harmonious balance between Apollonian formative art and Dionysian creative art. Based on this point, this study looks at Deux danses from the perspective of ‘dance’ as Nietzsche’s method of thinking, and considers the musical meanings of Deux danses prior to the internal and external analysis of the work. Deux danses consist of Guirlandes (Op. 73, No. 1) and Flammes sombres (Op. 73, No. 2). As a result of the analysis, the symbol of Deux danses in this work shows that Scriabin’s musical symbol, which reveals the exhaustion of life through the metaphor of Nietzsche’s meaning that aims for a harmonious balance of life, and fire, is unified in a systematic and consistent way through SC 6-Z49, SC 8-28, and SC 6-34. 이 연구는 스크리아빈(Alexander Scriabin, 1872-1915)의 《두 개의 춤》 (Deux danses, Op. 73, 1914)을 니체(Friedrich Nietzsche, 1844-1900) 철학과 춤의 상관관계를 통해 탐색하여 그의 음악을 보는 분석의 새로운 관점을 제시하는 데에 그 궁극적인 목적이 있다. 스크리아빈은 니체의 사상을 접하여 그 음악적 변화가 촉발된 작곡가이다. 니체는 인간의 몸을 존재론적 가치의 가장 중요한 실체로 다룸으로써 춤을 문화 담론의 중심 역할로 이끌었다. 특히 니체의 사유에서 춤은 아폴론적인 조형예술과 디오니소스적인 창조예술 사이의 조화적 균형을 이루는예술 미학으로서의 의미를 지닌다. 이 점을 근거로 본 연구에서는 《두 개의춤》의 내ㆍ외재적 분석에 앞서 스크리아빈의 춤을 니체 사유 방식의 관점에서 접근함으로 《두 개의 춤》이 갖는 음악적 의미들을 고려하고 있다. 《두 개의 춤》은 〈화환〉(Guirlandes, Op. 73, No. 1)과 〈어두운 불꽃〉 (Flammes sombres, Op. 73, No. 2)으로 구성되어있다. 연구의 결과, 이 두 곡에서 상징하는 두 개의 춤이란 삶의 조화적 균형을 지향한 니체적 의미에서의 은유와 불이란 매개를 통해 생명의 소진을 바라보는 스크리아빈의 음악적 상징이 집합류 6-Z49, 8-28, 6-34를 통해 체계적이며 일관된 방법으로 통일성을 이루고 있음을 알 수 있었다.