scholarly journals F. NIETZSCHE’S «BIRTH OF TRAGEDY» IN THE CONTEXT OF MEDICAL DISCOURSE

2021 ◽  
pp. 189-193
Author(s):  
Владимир Владимирович Буланов
Keyword(s):  
Medical Discourse ◽  
Death Of God ◽  
Psychological Recovery ◽  
Birth Of Tragedy

Как об утрате древними греками веры в богов Аполлона и Диониса. С точки зрения автора статьи, Ницше пришел к выводу, что последствия этой «смерти Бога» привели к необходимости психологического оздоровления людей. Автор статьи утверждает, что можно говорить об оригинальности философии Ницше как автора «Рождения трагедии» и причастности этой философии медицинскому дискурсу The author of the article argues that in «The Birth of Tragedy» F. Nietzsche expresses his reflection on the «death of God» discussing the loss of faith in Apollo and Dionysus by the ancient Greeks. In his opinion, Nietzsche came to the conclusion that the consequences of this «death of God» led to the need for psychological recovery of people. The author of the article claims that it is possible to speak about the originality of Nietzsche's philosophy in the «Birth of Tragedy» and the involvement of his thought in medical discourse

Nihilism as a challenge of modern times in the philosophy of Friedrich Nietzsche

2018 ◽  
Vol 15 ◽  
pp. 135-152
Author(s):  
Marcin Krupa
Keyword(s):  
Friedrich Nietzsche ◽  
The Other ◽  
Contemporary Culture ◽  
Early Theory ◽  
Death Of God ◽  
Absolute Value ◽  
Modern Times ◽  
Other Hand ◽  
Birth Of Tragedy ◽  
Affirmation Of Life

The paper analyses the concept of nihilism in philosophy of Frederick Nietzsche. Although it is one of the most important problems in late Nietzsche’s philosophy, it is worth pointing out that already in the early theory of tragedy, as presented in The Birth of Tragedy, one can find quite a few similarities to the problem of nihilism. Nihilism itself is defined in the paper as a challenge, as there is a lot of ambivalence in how Nietzsche describes it. On one hand he sees nihilism as a dangerous sign of a disease of some sorts, on the other hand he recognises it as a unique chance to overcome the crisis, in which we find ourselves today, amidst the “death of God” and the failure of old values. Nihilism can be therefore understood as a challenge or even an existential task, because although it is a sign of a crisis of contemporary culture, it is also the only way to overcome this crisis. It is through nihilism that it is possible, according to Nietzsche, to get rid of dangerous, metaphysical thinking still prevalent in our culture. Only through that it is possible to revaluate all the values, and thus create a new way of thinking, in which world and life gain absolute value through themselves, not through some transcendental, metaphysical values. This in turn becomes the lifeblood for an existential attitude of amor fati, which is an attitude of loving one’s own fate and full affirmation of life.

Skills for Psychological Recovery: An Evidence-Informed Intervention for Disaster/Mass Violence

2009 ◽  
Author(s):  
Patricia Watson ◽  
Melissa Brymer ◽  
Josef Ruzek ◽  
Steven Berkowitz ◽  
Eric Vernberg ◽  
...  
Keyword(s):  
Mass Violence ◽  
Psychological Recovery

Skills for Psychological Recovery

2008 ◽  
Author(s):  
Patricia Watson ◽  
Josef Ruzek ◽  
Eric Vernberg ◽  
Christopher Layne ◽  
Steven Berkowitz ◽  
...  
Keyword(s):  
Psychological Recovery

Psychological First Aid and Skills for Psychological Recovery

2007 ◽  
Author(s):  
Patricia Watson ◽  
Melissa Brymer ◽  
Josef Ruzek ◽  
Alan Steinberg ◽  
Eric Vernberg ◽  
...  
Keyword(s):  
First Aid ◽  
Psychological First Aid ◽  
Psychological Recovery

The Sober Bacchae: Dance as Phenomenal Limitation in Nietzsche

2019 ◽  
Vol 37 (1) ◽  
pp. 59-76
Author(s):  
Monique Lyle
Keyword(s):  
World View ◽  
The Body ◽  
Specific Function ◽  
Alain Badiou ◽  
Classical Greece ◽  
Birth Of Tragedy

This essay seeks to dispel entrenched critical opinion regarding dance across Nietzsche's writings as representative of Dionysian intoxication alone. Taking as its prompt the riposte of Alain Badiou, ‘Nietzsche is miles away from any doctrine of dance as a primitive ecstasy’ and ‘dance is in no way the liberated bodily impulse, the wild energy of the body’, the essay uncovers the ties between dance and Apollo in the Nietzschean theory of art while qualifying dance's relation to Dionysus. Primarily through an analysis of The Dionysiac World View and The Birth of Tragedy, the essay seeks to illuminate enigmatic statements about dance in Nietzsche (‘in dance the greatest strength is only potential, although it is betrayed by the suppleness of movement’ and ‘dance is the preservation of orderly measure’). It does this through an elucidation of the specific function of dance in Nietzsche's interpretation of classical Greece; via an assessment of the difficulties associated with the Nietzschean understanding of the bacchanal; and lastly through an analysis of Nietzsche's characterization of dance as a symbol. The essay culminates in a discussion of dance's ties to Nietzschean life affirmation; here the themes of physico-phenomenal existence, joy and illusion in Nietzsche are surveyed.

‘More, I prithee, more’: Melancholy, Musical Appetite and Medical Discourse in Shakespeare’s Twelfth Night

2018 ◽  
Author(s):  
Pierre Iselin
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
Medical Discourse ◽  
Modern Music ◽  
Twelfth Night ◽  
The Tempest ◽  
Dramatic Text ◽  
Musical Event ◽  
The Subject ◽  
The Many

Pierre Iselin broaches the subject of early modern music and aims at contextualising Twelfth Night, one of Shakespeare’s most musical comedies, within the polyphony of discourses—medical, political, poetic, religious and otherwise—on appetite, music and melancholy, which circulated in early modern England. Iselin examines how these discourses interact with what the play says on music in the many commentaries contained in the dramatic text, and what music itself says in terms of the play’s poetics. Its abundant music is considered not only as ‘incidental,’ but as a sort of meta-commentary on the drama and the limits of comedy. Pinned against contemporary contexts, Twelfth Night is therefore regarded as experimenting with an aural perspective and as a play in which the genre and mode of the song, the identity and status of the addressee, and the more or less ironical distance that separates them, constantly interfere. Eventually, the author sees in this dark comedy framed by an initial and a final musical event a dramatic piece punctuated, orchestrated and eroticized by music, whose complex effects work both on the onstage and the offstage audiences. This reflection on listening and reception seems to herald an acoustic aesthetics close to that of The Tempest.

Spiritus, ecclesiae anima: Colet, Linacre, and a Galenic Mystical Body

Moreana ◽  
2014 ◽  
Vol 51 (Number 197- (3-4) ◽  
pp. 115-137
Author(s):  
Daniel Lochman
Keyword(s):  
Sixteenth Century ◽  
Medical Discourse ◽  
Social Contacts ◽  
Health Related ◽  
John Colet ◽  
The Church ◽  
The Ideal

John Colet knew Thomas Linacre for approximately three decades, from their mutual residence in Italy during the early 1490s through varied pedagogical, professional, and social contacts in and around London prior to Colet’s death in 1519. It is not certain that Colet knew Linacre’s original Latin translations of Galen’s therapeutic works, the first printed in 1517. Yet several of Colet’s works associate a spiritual physician—a phrase linked to Colet himself at least since Thomas More’s 1504 letter inviting him to London—with Paul’s trope of the mystical body. Using Galenic discourse to describe the “physiology” of the ideal mystical body, Colet emphasizes by contrast a diseased ecclesia in need of healing by the Spirit, who alone can invigorate the mediating “vital spirits” that are spiritual physicians—ministers within the church. Colet’s application of sophisticated Galenic discourse to the mystical body coincided with the humanist interest in Galen’s works evident in Linacre’s translations, and it accompanied growing concern for health related to waves of epidemics in London during the first two decades of the sixteenth century as well as Colet’s involvement in licensure of London physicians. This paper explores the implications of Colet’s adaptation of Galenic principles to the mystical body and suggests that Colet fostered a strain of medical discourse that persisted well into the sixteenth century.

Getting to know a new protocol in hypertension care

2020 ◽  
Vol 16 (1) ◽  
Author(s):  
Mona Lundin
Keyword(s):  
Blood Pressure ◽  
Digital Technology ◽  
Interaction Analysis ◽  
Medical Discourse ◽  
Graphical Form ◽  
Graph Data ◽  
Average Blood Pressure ◽  
Infrastructure Design

This study explores the use of a new protocol in hypertension care, in which continuous patient-generated data reported through digital technology are presented in graphical form and discussed in follow-up consultations with nurses. This protocol is part of an infrastructure design project in which patients and medical professionals are co-designers. The approach used for the study was interaction analysis, which rendered possible detailed in situ examination of local variations in how nurses relate to the protocol. The findings show three distinct engagements: (1) teasing out an average blood pressure, (2) working around the protocol and graph data and (3) delivering an analysis. It was discovered that the graphical representations structured the consultations to a great extent, and that nurses mostly referred to graphs that showed blood pressure values, which is a measurement central to the medical discourse of hypertension. However, it was also found that analysis of the data alone was not sufficient to engage patients: nurses' invisible and inclusion work through eliciting patients' narratives played an important role here. A conclusion of the study is that nurses and patients both need to be more thoroughly introduced to using protocols based on graphs for more productive consultations to be established. 

Sign in / Sign up

Export Citation Format

Share Document