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HE WHO IS LEAVING ... THE FIGURE OF THE WANDERER IN NIETZSCHE'S ALSO SPRACH ZARATHUSTRA AND CASPAR DAVID FRIEDRICH'S DER WANDERER UBER DEM NEBELMEER
Tekijät: Idrobo C
Julkaisuvuosi: 2012
Journal: Nietzsche Studien
Tietokannassa oleva lehden nimi: NIETZSCHE-STUDIEN, BD 41
Lehden akronyymi: NIETZSCHE STUD
Vuosikerta: 41
Aloitussivu: 78
Lopetussivu: 103
Sivujen määrä: 26
ISSN: 0342-1422
DOI: https://doi.org/10.1515/niet.2012.41.1.78
Tiivistelmä
The wanderer motif played an important role during the 19th-Century German art, literature, and philosophy, mostly because of its capacity for embodiment and for connecting places, discourses, and related motifs like the summit experience and man before a borderline situation. Both Caspar David Friedrich's and Friedrich Nietzsche's renditions of this figure add two unexpected aspects: the wanderer staged as a rear-view figure and as a dancer, respectively. The purpose of this paper is to confront these two seldom connections with the wandering experience and its motifs, and to show how the temporal structure of Friedrich's rear-view figure and Nietzsche's conception of Zarathustra as a wandering dancer are not only deeply connected with each other, but also with our own experience of time
The wanderer motif played an important role during the 19th-Century German art, literature, and philosophy, mostly because of its capacity for embodiment and for connecting places, discourses, and related motifs like the summit experience and man before a borderline situation. Both Caspar David Friedrich's and Friedrich Nietzsche's renditions of this figure add two unexpected aspects: the wanderer staged as a rear-view figure and as a dancer, respectively. The purpose of this paper is to confront these two seldom connections with the wandering experience and its motifs, and to show how the temporal structure of Friedrich's rear-view figure and Nietzsche's conception of Zarathustra as a wandering dancer are not only deeply connected with each other, but also with our own experience of time
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