La unidad de estilo nietzscheana: unidad múltiple, entre lo individual y lo colectivo
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Esta tesis propone una interpretación de uno de los conceptos seminales de la obra joven e intermedia de Friedrich Nietzsche, se trata de la unidad de estilo. En estas líneas sostengo que las elaboraciones del filósofo alemán a propósito de la estilización de la cultura y del individuo están atravesadas por una doble tensión: por un lado, aquella entre lo uno (entendido como lo idéntico a sí mismo) y lo múltiple (comprendido como lo irreductiblemente diverso), y por otro, aquella entre lo individual y lo colectivo. En concreto, Nietzsche deja ver que estos pares aparentemente antitéticos no son tal, y que la unidad de estilo es un concepto que permite pensar una unidad que nunca es igual a sí misma, que siempre es fluida, múltiple, mutable y singular y que, además, está no solo a la base de la verdadera cultura, sino también del auténtico hombre superior.
Abstract: This thesis raises an interpretation of one of Friedrich Nietzsche’s seminal concepts in his young and intermediate works: unity of style. In these lines I argue that the German philosopher’s theoretical elaborations regarding the stylization of the culture and of the individual are both crossed by a double tension: that between oneness (understood as identical to itself) and multiplicity (understood diverse); and that between the individual and the collective. Nietzsche points out that these seemingly antithetical pairs are not such, and that unity of style is a concept that enables us to think in a unity that is never identic to its self, that is always fluid, multiple, mutable and singular, and that is at the same time the base of the authentic culture and of the superior man.
Abstract: This thesis raises an interpretation of one of Friedrich Nietzsche’s seminal concepts in his young and intermediate works: unity of style. In these lines I argue that the German philosopher’s theoretical elaborations regarding the stylization of the culture and of the individual are both crossed by a double tension: that between oneness (understood as identical to itself) and multiplicity (understood diverse); and that between the individual and the collective. Nietzsche points out that these seemingly antithetical pairs are not such, and that unity of style is a concept that enables us to think in a unity that is never identic to its self, that is always fluid, multiple, mutable and singular, and that is at the same time the base of the authentic culture and of the superior man.