Le donne e la giustizia. La famiglia come problema politico by Susan Moller Okin

By Susan Moller Okin

Perché i teorici politici contemporanei non parlano mai della famiglia? los angeles giustizia nella famiglia non è un dato naturale, ma deve essere "costruita": e ciò è possibile solo se viene messa in discussione los angeles posizione delle donne in essa, l. a. divisione del lavoro domestico non retribuito, che finora è stata determinata dal sesso, e che ha a sua volta distribuito anche i ruoli e i riconoscimenti nella vita professionale esterna, tra uomini e donne. Non è creando ghetti di protezione in line with le donne, o attribuendo loro vantaggi immeritati nella vita pubblica, ma solo eliminando l'ingiustizia del mondo privato - cioé facendone una questione da risolvere politicamente - che diverrà possibile realizzare una giustizia non maschile, nè femminile, ma umanista.

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In 48 I use the letter 'b' to distinguish the notebook in question, included in vol. 8 of KSA, from a notebook that bears the same number in vol. 7. 49 Friedrich Nietzsche, Human, All Too Human: A Book for Free Spirits, trans. R. J. Hollingdale (Cambridge University Press, 1996), sec. 3, p. 13. XXXlV Introduction their place, forgetting, itself shorn of metaphysical garb, provides a nat­ ural mechanism for art's transfiguration of the only world we all inhabit. Forgetting has already become for Nietzsche 'not just a vis inertiae, as superficial people suppose, but .

But he also expected more from them than just earnest agreement since nothing, including seriousness, is ever good or bad in itself (23b[152]). As we follow him through his notes' labyrinthine paths and leave him just as they have led him to the threshold of his greatest accom­ plishments, we can do no better than keep with us, as our own version of Ariadne's thread, the world of the very last note included in this volume: Shame on this lofty semi-idiotic seriousness! Are there no little lines around your eyes?

Nietzsche, however, was not so charitable and he focused on its errors more than its greatness. One such error, he makes it very clear, was his overvaluation of tragedy and drama in general: 'Dramatists are constructive geniuses, not original finders like epic poets. Drama is lower than the epic - coarser audience - democratic' (27 [19]). And along with his rejection of drama comes his final renunci­ ation of \Vagner, whom he now demotes - rather cruelly, perhaps from 'musician' (or, in Wagner's own terms, 'dramatist of reality' - a drama­ tist whose raw material is music and whose subject is the world beyond appearance) to 'dramatist' (someone who, in the end, is only capable of representing everyday reality without discerning the fissures through which different alternatives to it appear possible): 'His soul does not sing, it speaks, but it speaks as the supreme passion does.

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