I argue that scientific and poetic modes of objectivity are perspectival duals: 'views' from and onto basic natural forces, respectively. I ground this analysis in a general account of objectivity, not in terms of either 'universal' or 'inter-subjective' validity, but as receptivity to basic features of reality. Contra traditionalists, bare truth, factual knowledge, and universally valid representation are not inherently valuable. But modern critics who focus primarily on the self-expressive aspect of science are also wrong to claim that our knowledge (...) is or should be ultimately mediated by ourselves. In objective science, we represent nature as a field of phenomena determined by and within explanatorily-basic physical structures that encode the causal impact of elemental physical forces. These causally-basic forces hence ground the possibility of objective scientific theory, even though (I argue) they are systematically excluded from its representational contents. I show how my notions of force and field emerge partly through my effort to naturalize concepts of 'God' and 'Laws' in 17th-century natural philosophy. In science, we use the structure of basic forces' impact to see corresponding objects. We do not see these forces themselves—and this relates to the 'transcendence' of 'God'. I supplement this historical analysis by critiquing standard accounts of objectivity, and by synthesizing elements from neo-Kantian epistemology and current 'structural' realism into a view that I call 'dynamic structuralism'. Finally, I argue that physics systematically relies on passive characterizations of phenomena like inertia and impressed force. Dynamic alternatives that are just as empirically adequate are possible, but they are non-scientific. Poetic objectivity involves a direct presentation of nature as an order of interacting forces. I elaborate first by developing a novel theory of the relation between beauty and sublimity, mediated by a basic category of 'sensory force' (e.g. a 'singing' tone in a beautiful melody). I then describe the interaction between sensory and affective dimensions of aesthetic experience, in relation to an original historical analysis of passion and 'disinterestedness' in Kant, Schiller and Nietzsche. I synthesize these lines of analysis into a critique of the role of 'expression' in art. I also resist 'spectator'-centric aesthetics, in this connection, by developing an account of artistic objectivity in dialogue with Ruskin's critique of the 'pathetic fallacy'. I contrast artistic objectivity with Romantic ideals of self-expression, while elaborating its positive relation to certain currents within Victorian and Modernist aesthetics, including Imagists' stress on 'exteriority'. My project creatively extends Nietzsche's view that philosophical and scientific theories are 'perspectival' expressions of theorists' drives. It is a virtue of Nietzsche's account that he takes the outlet of strong human drives in creative acts of theorizing to be just one among many higher modes of 'will to power' in nature—many of which are totally impersonal. But Nietzsche is still too focused on self-expression or willing one's own power. Objective science involves external forces' 'expression' in and through us, not just 'expressing' our own powers. And Nietzsche's vitalistic 'will to power' must be replaced by a basic ontology that better accommodates inorganic phenomena, like the 'lawful' order of celestial motions. Thus I aim to de-anthropomorphize and 'de-organicize' post-Kantian notions of willful striving and organic development, while preserving for force the primary ontological and evaluative status that theorists from Schiller and Goethe to Schelling and Schlegel to Emerson and Nietzsche attributed to will or to life. (shrink)

Based on a review of the literature and historical evidence, I argue that the use of the methodological principle known as the priority principle in Anglo-American Nietzsche scholarship is inconsistent and irreconcilable with historical evidence. It attempts to demarcate between the published works and the Nachlass. However, there are no agreed upon necessary and sufficient conditions of a particular textual object being considered “Nachlass.” This absence leads to implicit and often tacit value demarcation criteria that can be broadly grouped into (...) four types of consideration: publication, authorization, publicness, and audience. Each of these criteria pick out a different set of texts as “Nachlass.” Thus, despite the veneer of agreement, the most broadly accepted methodological approach in the Anglo-American tradition of Nietzsche scholarship is applied inconsistently. I argue that we must either offer necessary and sufficient conditions for a piece of text being Nachlass, or we ought to abandon such abstract criteria altogether and embrace a contextual and historical approach. I then argue that the first option is impossible given historical evidence. I conclude this article by explicating several recent German approaches to the Nachlass which I think can offer a new possible approach. (shrink)

Many commentators have claimed that Nietzsche views the “sublimation” (Sublimierung) of drives as a positive achievement. Against this tradition, I argue that, on the dominant if not universal Nietzschean use of Sublimierung and its cognates, sublimation is just a broad psychological analogue of the traditional (al)chemical process: the “vaporization” of drives into a finer or lighter state, figuratively if not literally. This can yield ennobling elevation, or purity in a positive sense—the intensified “sublimate” of an unrefined original sample. But it (...) can also yield drives that are attenuated or otherworldly, in a pejorative sense. One (but only one) kind of Nietzschean sublimation is the “translation” of drives to “imaginative and spiritual” (Imaginative und Seelische) modes of expression. I con­clude that, despite certain appearances to the contrary, Nietzsche ultimately values basic drives’ powerful expression, without preferring either that this occur specifically as “higher culture” or as “savage” natural impulse. (shrink)

I show that Nietzsche's puzzling and seemingly inconsistent claims about consciousness constitute a coherent and philosophically fruitful theory. Drawing on some ideas from Schopenhauer and F.A. Lange, Nietzsche argues that conscious mental states are mental states with conceptually articulated content, whereas unconscious mental states are mental states with non-conceptually articulated content. Nietzsche's views on concepts imply that conceptually articulated mental states will be superficial and in some cases distorting analogues of non-conceptually articulated mental states. Thus, the claim that conscious states (...) have a conceptual articulation renders comprehensible Nietzsche's claim that consciousness is "superficial" and "falsifying.". (shrink)

This thesis aims to explore Nietzsche's concept of individuality. Nietzsche, a radical and innovative thinker who attacks Christian morality and proclaims the death of God, provides us with a self-interpreting way to understand humanity and affirm life through self-overcoming and self-experimentation. Nietzsche's concept of individuality is his main philosophical concern. I first compare his perspective on human nature in Human, All Too Human, Daybreak and Beyond Good and Evil with Charles Darwin's, Sigmund Freud's and St Augustine's in order to examine (...) how his thinking differs from theirs with regard to the concept of human nature. Second, I turn to his On the Genealogy of Morals, in comparison with the thought of John Stuart Mill, analysing their criticism of Christian morality and discussing their different conceptions of individuality and the development of the self. The last chapter compares Nietzsche's The Anti-Christ, Twilight of the Idols and Ecce Homo with Ralph Waldo Emerson's philosophy of self-development, using this comparison to highlight the way in which Nietzsche expounds his concept of individuality and sets himself as a living example of an individual with autonomy and responsibility. Nietzsche attacks Christianity and argues that humanity can potentially be developed not through Christian morality but reflective self-interpretation. We shall not forget that being a self-developing individual is Nietzsche's chief aim although his arguments are too circuitous and controversial to be easily comprehended. His aim is not to offer some final, authoritative solution to these issues of the self and morality. In contrast, he offers us a new, uneven and perhaps dangerous way to understand humanity and modern culture. In order to achieve this, we need to interpret what he says from our own standpoints and also to interpret ourselves through self-reflection. Nietzsche's radical but insightful perspective is a means for guiding us to open our minds and affirm our lives through interpretation and experimentation. Then we might potentially overcome nihilism and become what we are: self-reflective individuals with free spirits. (shrink)