By Caroline Joan S. Picart
Nietzsche's feedback approximately ladies and femininity have generated loads of debate between philosophers, a few seeing them as ineradicably misogynist, others studying them extra favorably as ironic and possibly necessary for contemporary feminism. during this research, Kay Picart makes use of a genealogical method of tune the best way Nietzsche's preliminary use of "feminine" mythological figures as symbols for modernity's regenerative powers steadily provides method to an more and more misogynistic politics, leading to the silencing and emasculation of his prior configurations of the "feminine."
While different students have desirous about classifying the measure of offensiveness of Nietzsche's ambivalent and constructing misogyny, Picart examines what this misogyny ability for his political philosophy as a complete. Picart effectively exhibits how Nietzsche's more and more derogatory therapy of the "feminine" in his post-Zarathustran works is heavily tied to his growing to be resentment over his lack of ability to restore a decadent modernity.
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Extra resources for Resentment and the "Feminine" in Nietzsche's Politico-Aesthetics
Sample text
Jean Graybeal, Language and "The Feminine" in Nietzsche and Heidegger (Bloomington: Indiana University Press, 1 990), 20. 32 Resentment and the " Feminine" language, including a dimension that is linked in ways we shall explore with women and 'the feminine' " ( 1 ) . I n order t o accomplish her aims, Graybeal devotes an initial chapter t o Julia Kristeva's work, arguing that her perspectives on the position of the subject in rela tion to language are "ethically" motivated, and that they can serve as powerful hermeneutic tools for the exegesis of literary-philosophical texts such as the works of Nietzsche and Heidegger.
12 For Nietzsche, it is only when the Apollinian and the Dionysian forces exist in art that art is "healthy" possessing a dynamic balance between the rational and elemental. For Nietzsche, Apollo and Dionysus rebirth themselves and their productive opposition by donning various masks. sser Sinnlichkeit schwebende]" (4 1 , 3 5 ) . She is thus but one among the pantheon of masks Nietzsche fashions for Apollo, as the appearance of appearance as mere appearance-profound superficiality. Correspondingly, Nietzsche grants the satyr the status of the Dionysian chorist, who inhabits a religiously hallowed reality under the sanction of myth and cult.
Instead, what emerges is a more complex model of reproduc tion, in which both entities appear to possess a reproductive duality-possessing both "masculine" (excitatory) and "feminine" (birthing) capacities-within themselves, and yet require each other in order to effect birthing. The Ap o lli n ian and the Dionysian forces appear essentially to undergo a form of parthenogenesis-a self birthing-yet it is an autogenesis that demands interaction with an other, as well as an autogenesis that requires an internal duality.