By Michel Onfray

Le XIXè siècle a été celui des lots, des Individus et des Grands Hommes. L’eudémonisme social (tome five de cette « Contre-histoire de los angeles philosophie »), et Les radicalités existentielles (son tome 6), retraçaient respectivement l’histoire philosophique des plenty et des Individus. Ce troisième volet consacré intitulé La development du surhomme, raconte le rôle tenu par le Grand Homme et son aspiration à los angeles Vie elegant dans ce siècle.Tuberculeux dopé au stoïcisme, Jean-Marie Guyau (1854-1888) développe une philosophie vitaliste comme une computer de guerre contre los angeles morale kantienne. Ce malade défend le don, los angeles générosité, le risque, l. a. dépense, l’action dans une œuvre qui pourrait faire de lui un Nietzsche français. Penseur du républicanisme, il formule un hygiénisme, un racialisme, un natalisme, dangereusement mom and dad de l’idéologie de Vichy à venir. Il défend enfin une immortalité panthéiste et stellaire obtenue par les lines de l’amour quand il a été fort.La determine ontologique du « Surhomme » de Nietzsche (1844-1900) n’est pas sans relation avec cette étrange métaphysique que le philo-sophe allemand connaissait. Nietzsche start avec Schopenhauer et Wagner, proceed avec un lengthy second épicurien et termine avec l’éloge d’un « Surhomme » ultra-caricaturé. Or, celui-ci nomme l’individu ayant compris que los angeles volonté de puissance a les pleins pouvoirs, qu’il faut vouloir cette volonté qui nous veut, puis l’aimer pour accéder à une jubilation suprême. Une process de sagesse à los angeles portée de tous.

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Extra info for La construction du surhomme : Jean-Marie Guyau, Friedrich Nietzsche (Contre-histoire de la philosophie, tome 7)

Example text

Most countries in the world are not contemplating reversions to socialism. The arguments of this book, taken alone, cannot determine which side is correct in the American political debates over government funding of the arts. Rather, I wish to challenge the common premise of cultural pessimism behind both sides. Funding critics argue that the National Endowment for the Arts (NEA) is corrupting American culture, while funding advocates claim that eliminating the NEA would critically damage American culture.

I concur with Robert Hughes, who notes that sev32 The Arts in a Market Economy eral hours of American television provide the best argument against market-supplied culture. The influence of the television market also has had some consequences for other cultural media, such as motion pictures. Today a considerable percentage of the profits from a movie come from the sale of television rights. Moviemakers, to some degree, have shifted their attention away from more specialized moviegoers to the more general television audience.

Forster published his last novels in the 1920s, even though he did not die until 1970. “I have nothing more to say,” was his explanation. 23 New innovations do not always eclipse older, more established artistic forms, but they do inevitably change them. Outside competition shakes up older forms and spurs ingenuity. Renaissance sculpture communicated the idea of depth perspective to painters, jazz crept into the rhythms of classical music, and movies have sped up the pacing of the best-selling novel.

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