Bégot, Jean-Olivier. "Nietzsche et la question du style." Lecture, Carnets du séminaire Wölfflin from Université Paris 1 Panthéon-Sorbonne, Paris. October 6, 2015. http://woelfflin.hypotheses.org/164
M. Bégot recalls theories of classic oratory Nietzsche would have been familiar with.
Bredekamp, Horst. “Art History as Bildwissenschaft.” Critical Inquiry 23 no. 3 (2003): 418-428. Accessed October 11, 2015. http://www.jstor.org/stable/10.1086/376303
Derrida, Jacques. Eperons: Les styles de Nietzsche. [1976] 2010, n.l.: Flammarion.
M. Bégot recalls theories of classic oratory Nietzsche would have been familiar with.
Bredekamp, Horst. “Art History as Bildwissenschaft.” Critical Inquiry 23 no. 3 (2003): 418-428. Accessed October 11, 2015. http://www.jstor.org/stable/10.1086/376303
Derrida, Jacques. Eperons: Les styles de Nietzsche. [1976] 2010, n.l.: Flammarion.
Kittler, Friedrich. Discourse Networks. Translated by Michael Metteer, Chris Cullens. 1990, Stanford, California: Stanford University Press. PDF file.
Kittler, Friedrich. Gramophone, Film,
Typewriter. Translated by Geoffrey-Winthorp Young and Michael
Wutz. [1986] 1999, Stanford, California: Stanford University Press. PDF.
Kittler is the first critical media theorist to argue that technology has agency; it cannot be dismissed as neutral, passive or controllable. Kittler's analysis of Nietzsche's style development since his acquisition of a typewriter is more nuanced than his technological determinism might initially suggest ("media determines or situation"). The section entitled "Typewriter" encloses a larger comment on the way our writing tools shape our modes of expression and communication (see Evan Selinger, "Nietzsche's Transformative Typewriter," July 26, 2012, Cyberology, The Society Pages). See also Kittler, "Nietzsche: Incipit Tragoedia" in Discourse Networks, 1800/1900, trans. Metteer and Cullens (Stanford, Claifornia: Standford University Press, 1990), 177-205.
Kittler, Friedrich. Optical Media. Berlin Lectures. [1999.] 2010, Cambridge: Polity. PDF.
Its poetic, prophetic style is unusual. Its extractable citations appeal to artists.
Nietzsche, Friedrich. Briefe. [Selected and published by Richard Dehler, 1911. Leipzig: Im Insel Verlag.] Hamburg: tredition, 2013.
Kittler, Friedrich. Optical Media. Berlin Lectures. [1999.] 2010, Cambridge: Polity. PDF.
Nietzsche, Friedrich. Also Sprach Zarathustra: Ein Buch für Alle und Keine.
Its poetic, prophetic style is unusual. Its extractable citations appeal to artists.
Nietzsche, Friedrich. Briefe. [Selected and published by Richard Dehler, 1911. Leipzig: Im Insel Verlag.] Hamburg: tredition, 2013.
Nietzsche’s three yearly letters to Jacob Burckhardt (Nietzsche to Burckhardt, 22 September 1886, no. 125; 14 November 1886, no. 138; no. 151) demonstrate one side of the correspondence with a man he greatly esteemed. Each letter corresponds to one of the younger man's recently published books, which he passes along to the older man: Beyond Good and Evil, The Genealogy of Moral, and The Case of Wagner, in which he summarizes briefly the main ideas of the book. These letters demonstrate Nietzsche's emotional and intellectual attachment to Burckhardt, whose company he clearly misses. The letters vary slightly in style: further investigation is needed to understand the context.
Nietzsche, Friedrich. "59. Die Feder Kritzelt." In "Scherz, List und Rache. Vorspiel in Deutschen Reimen." In Die Fröhliche Wissenschaft ("la gaya scienza"). Leipzig: E.W. Fritzsch, 1887. eKGWB
"Surrealist"-like poem in the Gay Science about the pen (writing tool) having relative agency in its speech, although it is doomed to be used by its user, who controls it. Relative eroticism reminds me of Jacques Derrida's idea about style being like a stylus, pointed, masculine, and the text recipient, feminine, in Eperons: Les styles de Nietzsche [1976] (n.l: Flammarion, 2010).
Nietzsche, Friedrich. "59. Die Feder Kritzelt." In "Scherz, List und Rache. Vorspiel in Deutschen Reimen." In Die Fröhliche Wissenschaft ("la gaya scienza"). Leipzig: E.W. Fritzsch, 1887. eKGWB
"Surrealist"-like poem in the Gay Science about the pen (writing tool) having relative agency in its speech, although it is doomed to be used by its user, who controls it. Relative eroticism reminds me of Jacques Derrida's idea about style being like a stylus, pointed, masculine, and the text recipient, feminine, in Eperons: Les styles de Nietzsche [1976] (n.l: Flammarion, 2010).
Nietzsche, Friedrich. Die Geburt der Tragödie. Oder: Griechentum und Pessimismus. Neue Ausgabe mit dem Versuch einer Selbstkritik. Leipzig: E.W. Fritzsch, 1878 [1. 1872, 2. 1874]. eKGWB.
Nietzsche, Friedrich. Jenseits von Gut und Böse. Vorspiel einer Philosophie der Zukunft. Leipzig: C.G. Naumann, 1886. eKGWB.
For the maxims.
Nietzsche, Friedrich. "144. Vom Barockstil." In "Meinungen und Sprüche." In Menschliches, Allzumenschliches II. eKGWB.
"He who knows that he is not born or trained to master dialectic and the unfolding of ideas as a thinker or writer will unconsciously resort to rhetoric and dramatic expression, for after all his goal is to make himself understood and in this way gain forcefulness; he does not care whether he honestly guides the hearts and minds of his fellow men, like a shepherd, or whether he catches them by surprise, like a robber. This also applies to the visual arts and music, where a feeling of deficiency in dialectic, or expression and narration -- accompanied by an urgent, overwhelming will to form -- produces the species of style known as the Baroque," trans. Monika Kaup, in Kaup and Lois Parkinson Zamora, Baroque New Worlds, (Durham, North Carolina: Duke University Press, 2010), 44-45.
Nietzsche, Friedrich. Zur Genealogie der Moral. Eine Streitschrift. Leipzig: C.G. Naumann, 1887. eKGWB.
For the turbulence.
Reichle, Ingeborg. “Medienbruche.” kritische berichte 30 no. 1 (2002): 40-56. Accessed October 12, 2015. http://www.kunstgeschichte.de/reichle/pdf/Berichte_Reichle.pdf
Wagner, Richard. Die Kunst und die Revolution [Art and Revolution], Leipzig: Wigand, 1850. PDF.
For the turbulence.
Reichle, Ingeborg. “Medienbruche.” kritische berichte 30 no. 1 (2002): 40-56. Accessed October 12, 2015. http://www.kunstgeschichte.de/reichle/pdf/Berichte_Reichle.pdf
Wagner, Richard. Das Kunstwerk der Zukunfst [The Artwork of the Future], Leipzig: Wigand, 1850. PDF.
Both these works by Richard Wagner make use of the word Gesamtkunstwerk, which, by the way, in art history is a concept used to describe Baroque-era interior ecclesial architecture in particular. The influence of Wagner on Nietzsche's thought also creates a possible bridge between Shakespeare and Nietzsche, which might help explain the 'dramaturgy' and turbulence of style in books such as Genealogy. For a theory on the Gesamtkunstwerk, see Juliet Koss, Modernism After Wagner (Minneapolis, MN: University of Minnesota Press, 2010). S
Wölfflin, Heinrich. Principles of Art History: The Problem of the Development of Style in Later Art. [1915] Translated by M.D. Hottinger. 1950. New York: Dover.
Inverse method. This book is published after Nietzsche's death. It extends the principles elaborated in Birth of Tragedy to Bildwissenchaft and formal analysis, which influence art history and critical media theory, or "ways of seeing," throughout the 20th and 21st centuries. Wölfflin and Nietzsche have as common denominator Jacob Burckhardt: Wölfflin was in fact his student. See also Burckhardt, Civilization of the Renaissance in Italy [1864], trans. S.G.C. Middlemore, 1878. PDF, and Wölfflin, Renaissance und Barock [Renaissance and Baroque] [1888], München: F. Bruckmann A.-G., 1908. PDF.
TRANSLATIONS
Nietzsche, Friedrich Wilhelm. Birth of Tragedy. [1872] Translated by Shaun Whiteside. Edited by Michael Tanner. London: Penguin, 1993.
Nietzsche, Friedrich Wilhelm. Untimely Meditations. [1873-1876]. Edited by Daniel Breazale. Translated by R.J. Hollingdale. Cambridge: Cambridge University Press, 1997. PDF.
