Humano, demasiado humano
- Idioma:
- inglés
- Estado:
- Obra completa
- Autoría:
- Escrita por el autor
- Estado del texto:
- Sin ruido de escaneo detectado (medición automática sobre todo el texto, no revisada a mano)
- Extensión:
- ~98.100 palabras · 466 pasajes
Cita esta obra
- APANietzsche. (n.d.). Human, All-Too-Human A Book for Free Spirits, Part 1 [Humano, demasiado humano]. Digital reproduction: SigPhi. https://sigphiai.com/es/works/nietzsche/human-all-too-human-a-book-for-free-spirits-part-1
- MLANietzsche. Human, All-Too-Human A Book for Free Spirits, Part 1 [Humano, demasiado humano]. Digital reproduction, SigPhi, https://sigphiai.com/es/works/nietzsche/human-all-too-human-a-book-for-free-spirits-part-1.
- ChicagoNietzsche. Human, All-Too-Human A Book for Free Spirits, Part 1 [Humano, demasiado humano]. Digital reproduction, SigPhi. https://sigphiai.com/es/works/nietzsche/human-all-too-human-a-book-for-free-spirits-part-1.
Referencia de la edición reproducida. SigPhi es la reproducción digital. Se incluyen año, editorial y traductor cuando constan; «n.d.» indica que no consta el año.
De qué trata
Humano, demasiado humano (1878), primera parte: el libro donde Nietzsche rompe con Wagner, con Schopenhauer y consigo mismo.
Contexto e historia
Cambia todo: del tratado al aforismo, del romanticismo a la sospecha, de la metafísica a la psicología. El método nuevo consiste en preguntar de dónde viene un sentimiento noble en vez de admirarlo, y de aquí sale toda la crítica posterior de la moral. Es una traducción inglesa de la edición completa dirigida por Oscar Levy (1909-1913), la que está en dominio público. Tiene más de un siglo y se le nota. El original es ALEMÁN y al citar hay que seguir el original, pero de esta obra aquí solo está la traducción.
Contexto editorial, no una fuente citable: a diferencia de los pasajes de la obra, estos datos no se pueden comprobar contra el corpus.
of all have good reasons for mockery, as soon as the appreciation of unpretentious truths, and the scientific spirit, begin to obtain the mastery; but only because their eye has either not yet recognised the charm of the _simplest_ form, or because men educated in that spirit are not yet completely and inwardly saturated by it, so that they still thoughtlessly imitate old forms (and badly enough, as one does who no longer cares much about the matter). Formerly the spirit was not occupied with strict thought, its earnestness then lay in the spinning out of symbols and forms. This is changed; that earnestness in the symbolical has become the mark of a lower culture. As our arts themselves grow evermore intellectual, our senses more spiritual, and as, for instance, people now judge concerning what sounds well to the senses quite differently from how they did a hundred years ago, so the forms of our life grow ever more _spiritual,_ to the eye of older ages perhaps _uglier,_ but only because it is incapable of perceiving how the kingdom of the inward, spiritual beauty constantly grows deeper and wider, and to what extent the inner intellectual look may be of more importance to us all than the most beautiful bodily frame and the noblest architectural structure. 4. ASTROLOGY AND THE LIKE.--It is probable that the objects of religious, moral, æsthetic and logical sentiment likewise belong only to the surface of things, while man willingly believes that here, at least, he has touched the heart of the world; he deceives himself, because those things enrapture him so profoundly, and make him so profoundly unhappy, and he therefore shows the same pride here as in astrology. For astrology believes that the firmament moves round the destiny of man; the moral man, however, takes it for granted that what he has essentially at heart must also be the essence and heart of things. 5. MISUNDERSTANDING OF DREAMS.…