By N.Y.) Metropolitan Museum of Art (New York
Netsuke, the toggles as soon as used to connect pouches or circumstances to kimono sashes, became more and more valued over the last fifty years. a lot care used to be given to the carving of those small, utilitarian gadgets, and plenty of of them are marvelous examples of the sculptors ability. Barbra Teri Okada, a number one authority on netsuke, has selected a hundred of the best of those sculptures from the gathering of The Metropolitan Museum of paintings. every bit is illustrated and mentioned intimately options are defined, wealthy non secular and historic allusions are explored, and parts of parody, satire, and parable are mentioned.
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Example text
Nietzsche calls the Stoics ‘‘odd actors’’—they rank below Plato and Epicurus because they don’t know they’re acting. His criticism of them employs the tools of philology: acting as if they read out of nature the canon of their law, they write into nature (vorschreiben, prescribe, dictate) their own morality. Claiming a ‘‘love of truth,’’ they falsify nature through a trick of logic: because they know how to tyrannize themselves, they conclude that nature too lets itself be tyrannized—for is the Stoic not a piece of nature?
Section 18 poses a challenge met in the remaining sections (19–23), chapter 1 thus closing with a display of strength on the issue of human will: are free minds free? ∞ And it is the investigation of the final item, the human soul, that promises, in the final section of this chapter, to give privileged access to the reality shared by all beings; in this respect the Nietzschean 1. These allusions to a new constructive view are what most distinguish this opening chapter from its counterpart in Nietzsche’s earlier book in nine chapters addressed to free minds, Human, All Too Human, a book Nietzsche could regard as supplanted because of what these allusions claim.
Schein as I understand it is the actual and sole The Prejudices of Philosophers 27 Pursuit of such dangerous maybes, Nietzsche says at the end of section 2, awaits a new genus of philosophers, a non-Platonic genus given that Plato set ‘‘all theologians and philosophers on the same track’’ (191). ’’ Are there such philosophers? ’’ Beyond Good and Evil states this hope at its beginning but gives no evidence that Nietzsche had actually seen a single such philosopher—besides himself. ∞≠ The philosophers of the dangerous maybes are a Nietzschean genus set on the same track by a turned-around taste and inclination and ‘‘baptized’’ with the antiPlatonic name Nietzsche waits to bestow on them until his two chapters on philosophy are nearly over.