One of the chief characteristics of the aphoristic style is the reduction of a set of ideas to an essential minimum. When the practitioner of the aphorism, a fragment, or a maxim, is successful, it takes, however, not only skills to produce elegant bottom-lines, but also a sense of how far such bottom-lines can be stretched. Readers of Nietzsche appreciate the philosopher's capacity to encapsulate complex ideas in a simple form, which is yet quite complex in itself. This being the case, I want to look precisely at Nietzsche's elasticity when it comes to articulating his well-known desire to ignite established ideas, and blow them to pieces with his own dynamite. Quite literally, can an elastic set things on fire, survive the fire? Can a truth be final even when it is elastic? What does it mean to write, for Nietzsche, when writing presents itself as a sin against silence, as a fire that burns the very abstract that is supposed to transcend even the very production of meaning? Thematically, I'm interested in looking at how Nietzsche formulates epistemologies of creative writing against the background of such stylistic devices which have the genre of the aphorism and the fragment as primary media for expression.
|Titel||Érzéki tapasztalat és kritikai gondolkodás. Nietzsche-tanulmányok a Tragédia születése megjelenésének 140. évfordulóján. [Sensual Experience and Critical Thinking. Nietzsche Studies on the 140th Anniversary of the Birth of Tragedy]|
|Redaktører||Kristóf Fenyvesi, Jolán Orbán|
|Status||Udgivet - 2012|
Elias, C. (2012). Double-Forked Artifice: Nietzsche's Dynamite. I K. Fenyvesi, & J. Orbán (red.), Érzéki tapasztalat és kritikai gondolkodás. Nietzsche-tanulmányok a Tragédia születése megjelenésének 140. évfordulóján. [Sensual Experience and Critical Thinking. Nietzsche Studies on the 140th Anniversary of the Birth of Tragedy] (s. 133-146). Jelenkor Publishers.