Critique of Rationality in Schopenhauer, Nietzsche and by Stefano Giacchetti

By Stefano Giacchetti

The most option to switch the area, in Marx's point of view, is thru a revolution of the constitution of society, that's, of its within your budget method of fabric creation. This revolution can't occur in the course of the conventional associations embodied in any given type of govt, due to the fact those associations are there to protect the commercial method that created them. a brand new society needs to be built at the abolition of capitalism and its associations. just a society that's dependent on a approach of creation without inner most estate, the place the technique of creation aren't owned by means of somebody or a social classification, should be loose.

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Not only Nietzsche's elaboration maintains the whole conceptual framework of his predecessor but, as we will show in the next chapter, it tries 30 A. Schopenhauer, The World as Will and Representation, vol. 2, p. 514. 54 to correct several flaws of Schopenhauer's theory, and in particular the metaphysical implications of his notion of the will, which represent the core of his pessimism. But before we start our analysis of Nietzsche's thought, we should consider first some other critiques that can be raised to Schopenhauer's doctrine.

This reconstruction has primarily two functions. The first, analytical one is to explain some crucial categories developed by Schopenhauer, since these will prove to be indispensable for understanding Nietzsche's thought first, and then its reception in Adorno's theory. The second, critical function is to show the basic flaws of Schopenhauer's doctrine, as they will be later detected and modified by Nietzsche and 1 G. Leopardi, Zibaldone di Pensieri, p. 624. ("The most enduring and truly pleasant thing is the variety of things, at least because nothing is lastingly and truly pleasant" - My translation) 32 33 Adorno, which will prove to be indispensable for presenting Adorno's theory as avoiding pessimistic conclusions.

The subject today is too radically enslaved to ideology to produce or contemplate art. In Adorno then autonomy is, rather than a consequence of aesthetic activity, its prerequisite. We will see that this passage is fundamental both for understanding Adorno's distancing from Marcuse's aesthetic theory, as it was directly expressed in his The Aesthetic Dimension, where he indicated art as emancipatory precisely for its ability to create a counterconsciousness, but also to show how Adorno remained more faithful to Nietzsche's intentions.

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