By Clarence Irving Lewis
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26 It is very clear that this passage is the conceptual source that will bring Nietzsche to re-evaluate the ‘Dionysian’ element in its ‘creative’ aspect, even if it involves a destructive component. Yet it is precisely this foundation of art in furor poeticus that opens the way for the avant-garde, since this ‘vital energy’ corresponds to the Dionysian ‘fury’ that seeks to destroy the language and continuously to revolutionize the artistic forms. If the essence of art and thought must be this vital energy, the expression of the ‘bare life’ emphasizing ‘primordial impulses’, then we are dealing with a strange mixture of primitivism, Darwinism and experimentalism, which was the characteristic of the avant-garde of the beginning of the twentieth century.
E. the emotions), Nietzsche develops the theory of the emotional brain: the strong emotions ‘agitate’, upsetting the memory register, the psyche and so on. The world is fully in flux and should not be considered to have a fixed magnitude. The idea of becoming, taken from pre-Platonic thought, is that what we call the ‘world’, is the result of a number of errors and fantasies that have arisen over time during the evolution of organic beings and that are transmitted to us as ‘treasures’. Nietzsche therefore considers ‘cultural heritage’ to be like ‘a quantity of errors and fantasies’.
14 Nietzsche’s Nihilism in Walter Benjamin In fact, in German the word Gewalt means ‘power’ and at the same time ‘violence’. 38 Benjamin attempted to deﬁne the threshold between ‘critical’ and mythical thought very clearly. He found in politics and philosophy the depravity of the Romantic notion of myth that reverses here the original progressive impulses into their opposites. Benjamin’s attitude is also somewhat ambivalent towards this trend in thinking. Even if he drew on much of the Romantic theory of language and art, he contrasts it strongly with the universalist interpretation of myth.
An Analysis Of Knowledge And Valuation by Clarence Irving Lewis