The Birth of Tragedy out of the Spirit of Music Additional Summary

Friedrich Nietzsche


(Critical Survey of Literature for Students)

Further Reading

Hayman, Ronald. Nietzsche: A Critical Life. New York: Oxford University Press, 1980. Scholars consider Hayman’s book one of the best biographies of Nietzsche. The book also links Nietzsche’s life to his writings.

Kaufmann, Walter. Nietzsche: Philosopher, Psychologist, Antichrist. 4th ed. Princeton, N.J.: Princeton University Press, 1974. Kaufmann was largely responsible for the rehabilitation of Nietzsche’s reputation after his ideas were co-opted by the Nazi Party in Germany to further its own nationalist agenda. Kaufmann also is one of the chief translators of Nietzsche.

Kemal, Selim, Ivan Gaskell, and Daniel W. Conway, eds. Nietzsche, Philosophy, and the Arts. New York: Cambridge University Press, 1998. This collection, working from a British perspective, provides readers with connections between philosophical concepts and literature as well as the other arts.

Magnus, Bernd, Stanley Stewart, and Jean-Pierre Mileur. Nietzsche’s Case: Philosophy as/and Literature. New York: Routledge, 1993. Magnus offers a cogent reading of Nietzsche as a bridge between the fields of philosophy and literature, interpreting Nietzsche’s own writings in literary terms.

Nehamas, Alexander. Nietzsche: Life as Literature. Cambridge, Mass.: Harvard University Press, 1985. Nehamas is one of the most important contemporary writers on Nietzsche. He brings a rich contextual understanding of the writers who were important to Nietzsche and of Nietzsche’s own works.

Silk, M. S., and J. P Stern. Nietzsche on Tragedy. 1981. Reprint. New York: Cambridge University Press, 1999. Silk and Stern offer an extended reading of the philosopher’s understanding of tragedy. This book places The Birth of Tragedy within the larger body of Nietzsche’s work on tragedy.

Young, Julian. Nietzsche’s Philosophy of Art. 1992. Reprint. New York: Cambridge University Press, 1999. Young treats the themes of tragedy and pessimism, demonstrating Nietzsche’s argument that the arts balance these two potentially negative forces.