Abstract

A key contention of Nietzsche's philosophy is that art helps us affirm life. A common reading holds that it does so by paving over, concealing, or beautifying life's undesirable features. This interpretation is unsatisfactory for two main reasons: Nietzsche suggests that art should foreground what is ‘ugly’ about existence, and he sees thoroughgoing honesty about life's character as a requirement on genuine affirmation. The paper presents an alternative reading. According to this reading, artworks depicting something terrible give us a feeling of fearlessness or courage by enabling an extraordinary state of affective distance from their content. The value of art lies in the fact that the aesthetic state resembles and invites us to pursue a psychic condition Nietzsche valorises. In making this case, the paper reveals a surprising continuity between an important strand in nineteenth-century aesthetic thought and contemporary distance theories of aesthetic engagement. It also casts new light on Nietzsche's famous criticisms of Kant's notion of disinterested aesthetic appreciation.