dor_id: 4137163

506.#.#.a: Público

590.#.#.d: Cada artículo es evaluado mediante una revisión ciega única. Los revisores son externos nacionales e internacionales

510.0.#.a: Sistema Regional de Información en Línea para Revistas Científicas de América Latina, el Caribe, España y Portugal (Latindex); Directory of Open Access Journals (DOAJ)

561.#.#.u: http://www.filos.unam.mx/

650.#.4.x: Artes y Humanidades

336.#.#.b: article

336.#.#.3: Artículo de Investigación

336.#.#.a: Artículo

351.#.#.6: https://revistas.filos.unam.mx/index.php/theoria

351.#.#.b: Theoría. Revista del Colegio de Filosofía

351.#.#.a: Artículos

harvesting_group: RevistasUNAM

270.1.#.p: Revistas UNAM. Dirección General de Publicaciones y Fomento Editorial, UNAM en revistas@unam.mx

590.#.#.c: Open Journal Systems (OJS)

270.#.#.d: MX

270.1.#.d: México

590.#.#.b: Concentrador

883.#.#.u: https://revistas.unam.mx/catalogo/

883.#.#.a: Revistas UNAM

590.#.#.a: Coordinación de Difusión Cultural

883.#.#.1: https://www.publicaciones.unam.mx/

883.#.#.q: Dirección General de Publicaciones y Fomento Editorial

850.#.#.a: Universidad Nacional Autónoma de México

856.4.0.u: https://revistas.filos.unam.mx/index.php/theoria/article/view/252/1918

100.1.#.a: Campioni, Giuliano

524.#.#.a: Campioni, Giuliano (2000). Nietzche, Wagner y el Renacimiento italiano. Theoría. Revista del Colegio de Filosofía; Núm. 10, 2000; 85-106. Recuperado de https://repositorio.unam.mx/contenidos/4137163

245.1.0.a: Nietzche, Wagner y el Renacimiento italiano

502.#.#.c: Universidad Nacional Autónoma de México

561.1.#.a: Facultad de Filosofía y Letras, UNAM

264.#.0.c: 2000

264.#.1.c: 2001-06-01

653.#.#.a: Sensación de la centralidad; Descubrimiento del individuo; El renacer; Centralidad; Individuo; Renacer

506.1.#.a: La titularidad de los derechos patrimoniales de esta obra pertenece a las instituciones editoras. Su uso se rige por una licencia Creative Commons BY-NC-ND 4.0 Internacional, https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.es, para un uso diferente consultar al responsable jurídico del repositorio por medio del correo electrónico revista.theoria@filos.unam.mx

884.#.#.k: https://revistas.filos.unam.mx/index.php/theoria/article/view/252

001.#.#.#: 125.oai:ojs.pkp.sfu.ca:article/252

041.#.7.h: spa

520.3.#.a: The purpose of this essay is to redefine Nietzsche’s relationship with the Renaissance, beyond some outstanding and terrible simplifications, and the literary and aesthetic creations of myths focused on the constellation superman, Renaissance-will-of-power, and Antichrist. Richard Wagner strongly conditions Nietzsche’s ideas with his valuations of the Renaissance. There is, in the young author of The Birth of Tragedy, a strong diffidence on the footsteps of the German ideology of the musician and of his rooted aversion to the Renaissance. The Italian Opera seems to be a false revival of the Greek Opera in its paradigmatic model of the artifice, and of the luxury of a selfish aristocracy, far from the feeling of the Volk. As a philologist and a promoter of a revival of the Greek world in Germany, Nietzsche had in the Italian Renaissance a necessary model of comparison. After an initial hostility followed a freer and more open evaluation that can be read in his posthumous documents, regardig the complexity of its experimental movement. The influence of Burckhardt in particular shows a progressive turning point, considerable for bringing a new definition of his relationship with the musician. The essay pauses on Nietzsche’s notes to the lessons dedicated to The Discovery of the Antiquity among the Italians, which turned out to be a mosaic of quotations from The Civilization of the Renaissance in Italy. It is certainly the most important document, largely ignored throughout history, of the close relationship between Nietzsche and Burckhardt. On the search for complexity and plurality that characterizes the superior culture, Nietzsche discovers and enhances the value of the Latin Renaissance in direct opposition to the German Renaissance impressed by Wagner’s illusion. With Burckhardt, he discovers the individual man and the poet-philologist, a prototype of the free spirit, putting into practice the detachment from the German myth of the Volk and opening the way to the culture of Romanticism.

773.1.#.t: Theoría. Revista del Colegio de Filosofía; Núm. 10 (2000); 85-106

773.1.#.o: https://revistas.filos.unam.mx/index.php/theoria

022.#.#.a: ISSN electrónico: 2954-4270; ISSN impreso: 1665-6415

310.#.#.a: Semestral

300.#.#.a: Páginas: 85-106

264.#.1.b: Facultad de Filosofía y Letras, UNAM

doi: https://doi.org/10.22201/ffyl.16656415p.2000.10.252

harvesting_date: 2023-11-08 13:10:00.0

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