GENERAL PROBLEMS IN NIETZSCHE INTERPRETATION Every philosopher presents special problems of interpretation. With Nietzsche these problems are especially crucial. The very richness of Nietzsche's thought and expression becomes a trap for the incautious or imaginative mind. Perhaps the greatest temptation for the in terpreter of Nietzsche is to attempt to "systematize" his thought into a consistent whole. Any such attempt necessarily results in distortion, for there is a fluidity in Nietzsche's thought which does not lend itself to strict categorization. This (...) is not to deny that there are certain organic patterns in his philosophy. These patterns emerge, however, as Jaspers correctly insists, only upon careful, critical comparison of pertinent passages drawn from the entire corpus of Nietzsche's works. No single passage can be taken as a definitive statement of Nietzsche's views of any particular subject. Frequently, by presenting two or three especially relevant quotations from the author being considered, the correctness of his interpretation. With Nietz a critic can support sche, however, such a procedure is inadequate, for in many cases other passages can be found which will support an alternative, if not oppo site, interpretation. Nor is this difficulty alleviated by vast compi lations of relevant passages, for then one could gain just as much, and quite likely more, from re-reading Nietzsche's works themselves. (shrink)

McCarthy has undertaken an enterprise of enormous scope and considerable interest. One of the virtues of his study is its cross-disciplinary approach. McCarthy has advanced degrees in philosophy and sociology and has done research and lectured extensively in Germany as a guest professor. His book is divided into four major parts. Part 1, “In the Shadow of Ancient Parnassos: The Coming of the Cosmic Night,” has two chapters: “Children of Oedipus and the Tragedy of Modernity: Karl Marx and Friedrich Nietzsche” (...) and “Ancient Economy and Classical Tragedy: Max Weber and Friedrich Nietzsche.” From the discussion of Nietzsche in these two chapters, one gets a clear impression of McCarthy’s scholarly style. There is no postmodern critical gimmickry nor wild free-associationism. His approach is solid, clear, and heavily researched. He is obviously conversant with the major figures who influenced Nietzsche and familiar, as well, with the work of the key interpreters of Nietzsche. In fact, at times, one wishes that there was not quite such a catalogue of references to other figures and influences. Consider the following passage: “Though trained in the neoclassicism of eighteenthand nineteenth-century authors such as Gottsched, Lessing, Klopstock, Wieland, Voss, A.W. Schlegel, Kleist, Goethe, and Schiller, Nietzsche makes a dramatic break with their perspectives in The Birth of Tragedy. Following upon Winckelmann’s view of the beauty, simplicity, and nobility of the Greek spirit, Lessing’s expansion of the structure of tragedy from Aristotle’s Poetics, Goethe’s views on catharsis and reconciliation in Greek tragedy, and Schiller’s adaptation of tragedy in his Kantian aesthetics, Nietzsche develops a theory of tragedy that also incorporates Schopenhauer’s profound existential resignation in the face of the meaninglessness of the world”. (shrink)

Smith poses a considerable challenge for himself and his readers by taking on the task of presenting a historical and dialectical perspective on modernism and its predominately self-defeating attempts to transcend itself. Two thinkers dominate our own period and, in significant part, define the context in which the discussion of the "overcoming" of modernism must take place: Nietzsche and Heidegger. In part 1, "The Essence of Modernity," Smith undertakes, quite successfully, the difficult responsibility of untangling the often bewildering array of (...) characterizations that attach to postmodernist theory. Remarkably, he does this with very little usage of the jargon of these positions. In these sections, Smith delineates the fundamental tendencies of a variety of species of both modernism and postmodernism with real insight and clarity--no small achievement! Modernism, in its self-indulgent celebration of nihilism, is characterized by the "Spirit of Revenge." This concept provides a natural transition into an examination of the thought of Nietzsche and, in particular, his massive attacks on the institutions which characterize modern culture. (shrink)

McCarthy has undertaken an enterprise of enormous scope and considerable interest. One of the virtues of his study is its cross-disciplinary approach. McCarthy has advanced degrees in philosophy and sociology and has done research and lectured extensively in Germany as a guest professor. His book is divided into four major parts. Part 1, “In the Shadow of Ancient Parnassos: The Coming of the Cosmic Night,” has two chapters: “Children of Oedipus and the Tragedy of Modernity: Karl Marx and Friedrich Nietzsche” (...) and “Ancient Economy and Classical Tragedy: Max Weber and Friedrich Nietzsche.” From the discussion of Nietzsche in these two chapters, one gets a clear impression of McCarthy’s scholarly style. There is no postmodern critical gimmickry nor wild free-associationism. His approach is solid, clear, and heavily researched. He is obviously conversant with the major figures who influenced Nietzsche and familiar, as well, with the work of the key interpreters of Nietzsche. In fact, at times, one wishes that there was not quite such a catalogue of references to other figures and influences. Consider the following passage: “Though trained in the neoclassicism of eighteenthand nineteenth-century authors such as Gottsched, Lessing, Klopstock, Wieland, Voss, A.W. Schlegel, Kleist, Goethe, and Schiller, Nietzsche makes a dramatic break with their perspectives in The Birth of Tragedy. Following upon Winckelmann’s view of the beauty, simplicity, and nobility of the Greek spirit, Lessing’s expansion of the structure of tragedy from Aristotle’s Poetics, Goethe’s views on catharsis and reconciliation in Greek tragedy, and Schiller’s adaptation of tragedy in his Kantian aesthetics, Nietzsche develops a theory of tragedy that also incorporates Schopenhauer’s profound existential resignation in the face of the meaninglessness of the world”. (shrink)