By Jeremiah L. Alberg
Jeremiah Alberg’s interesting ebook explores a phenomenon nearly each information reader has skilled: the curious tendency to skim over dispatches from warfare zones, political battlefields, and monetary facilities, purely to be drawn in through headlines saying a late-breaking scandal. Rationally we'd agree that the previous are of extra importance and value, yet they don't pique our interest in really a similar manner. The affective response to scandal is one either one of curiosity and of embarrassment or anger on the curiosity. The reader is even as drawn to and repulsed by way of it. underneath the Veil of the unusual Verses describes the roots out of which this conflicted wish grows, and it explores how this hope mirrors the violence that undergirds the scandal itself. The e-book indicates how readers appear to be faced with a stark selection: both shy away from scandal thoroughly or turn into enthralled and therefore trapped by way of it. utilizing examples from philosophy, literature, and the Bible, Alberg leads the reader on a street out of this fake dichotomy. through its nature, the writer argues, scandal is the root of our interpreting; it's the resource of the stumbling blocks that hinder us from figuring out what we learn, and of the bridges that result in a deeper seize of the reality.
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Additional resources for Beneath the Veil of the Strange Verses: Reading Scandalous Texts
In The Birth of Tragedy Nietzsche was attempting to undo the distinction between art and philosophy, thus rendering his text a religious work because the justiﬁcation of human existence by the new practical science of aesthetics would not be merely art but also a kind of religion. His inaugural work enacted tragedy so that humans would not have to live by relying on traditional religion. Nietzsche wanted us to return to pagan religion through an experience of its art. Such a return to religion under the guise of art is important because it makes explicit what Nietzsche leaves unsaid.
If he [the theoretical man] sees here, to his dismay, how logic twists around itself and ﬁnally bites itself in the tail, there dawns a new form of knowledge, tragic knowledge, which needs art as both protection and remedy if we are to bear it” (75). The wide ocean of knowledge onto which Socrates launched Western civilization has a paradoxical effect. That is, modern man sees the “limits” of this Socratic love of wisdom in its limitlessness and therefore searches for a coast in this ocean. It is precisely the limitlessness of the search that teaches modern man its limits.
Then the “ﬁgure” of Socrates is substituted for the historical person, and ﬁnally the “theoretical man” is substituted for that ﬁgure. It is no wonder that we get caught in the fascinating interplay of sacriﬁcial substitutions. Let us listen to Nietzsche’s description of the struggle between Socrates and Dionysus in order to identify the main elements of this tragedy. The Fascination of Friedrich Nietzsche 31 But Socrates was that second spectator who did not understand the older tragedy and therefore chose to ignore it; in league with him, Euripides dared to become the herald of a new creativity.