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  1. Nietzsche on style.Mark Alfano - forthcoming - Nineteenth Century Prose.
    Nietzsche talks about style [Stil and cognates] in all of his published and authorized works, from The Birth of Tragedy to Ecce Homo. He refers to style in over one hundred passages. Yet the scholarly literature on Nietzsche and style includes only a handful of publications, among them Derrida’s notorious Spurs: Nietzsche’s Styles (1978), which barely even engages with Nietzsche’s writings (see also Magnus 1991 and Babich 2011, 2012). Much of the rest of the literature is about Nietzsche’s style, rather (...)
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  2. Il gioco di Eraclito.Jacopo Nero Verani - 2023 - Milano: Mimesis.
    In questo saggio si esamina il frammento B52 di Eraclito di Efeso (“La vita è un fanciullo che gioca, che sposta i pezzi sulla scacchiera: reggimento di un fanciullo”) e se ne mostra l’influenza e la ricorrenza nella storia della filosofia. Dopo una breve introduzione al pensiero eracliteo, si passa all’analisi del frammento in chiave greca attraverso le quattro figure principali che vi compaiono (aiòn, pais, pesseia, basileia). Affrontando una lunga serie di autori diversi che lo hanno studiato (da Filone (...)
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  3. Nietzsche in Hollywood: Images of the Übermensch in Early American Cinema.Matthew Rukgaber - 2022 - Albany, NY, USA: State University of New York Press.
    ISBN 978-1-4384-9027-4 Argues that Nietzsche’s idea of the Übermensch was a central concern of filmmakers in the 1920s and 1930s. -/- Nietzsche in Hollywood offers a compelling and startling history of Hollywood film in which the German philosopher Friedrich Nietzsche and his idea of the Übermensch looms large. Though Nietzsche’s philosophy was attacked as egoistic and a sociopathic version of Darwinism in films from the 1910s, it undergoes a series of cinematic and philosophical transformations in the 1920s and 1930s under (...)
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  4. Lyric Self-Fashioning: Sonnet 35 as Formal Model.Joshua Landy - 2021 - Philosophy and Literature 45 (1):224-248.
    Each of us is not just a set of actions, experiences, and plans but also a set of traits, capacities, and attitudes; we are as much our character as our life. And while story form can help unify a messy life, when it comes to a messy character, we may need something like the form of a poem. Could we model our self-conception, then, on a work like Sonnet 35? In finding deep-going unity—and even bittersweet beauty—beneath surface-level ambivalence, Sonnet 35 (...)
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  5. Classical Form or Modern Scientific Rationalization? Nietzsche on the Drive to Ordered Thought as Apollonian Power and Socratic Pathology.Eli I. Lichtenstein - 2021 - Journal of Nietzsche Studies 52 (1):105-134.
    Nietzsche sometimes praises the drive to order—to simplify, organize, and draw clear boundaries—as expressive of a vital "classical" style, or an Apollonian artistic drive to calmly contemplate forms displaying "epic definiteness and clarity." But he also sometimes harshly criticizes order, as in the pathological dialectics or "logical schematism" that he associates paradigmatically with Socrates. I challenge a tradition that interprets Socratism as an especially one-sided expression of, or restricted form of attention to, the Apollonian: they are more radically disparate. Beyond (...)
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  6. Gratitude to Beautiful Objects: On Nietzsche's Claim That the Beautiful “Promises Happiness”.Joshua Isaac Fox - 2020 - Journal of Nietzsche Studies 51 (2):169-187.
    Nietzsche suggests that part of what it is to experience something as beautiful is to experience it as beneficial in the highest degree. He defends this claim by suggesting that it alone captures the experience of beauty typical of artists. I argue that this is best understood as pointing to an explanatory argument: Nietzsche takes his view to make sense of an effect beautiful objects have on artists. This effect is, I suggest, gratitude. Beautiful objects inspire feelings of gratitude within (...)
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  7. “Dios ha muerto” y la cuestión de la ciencia en Nietzsche. “God is dead” and the question of science in Nietzsche.Osman Choque-Aliaga - 2019 - Estudios de Filosofía (Universidad de Antioquia) 59:139-166.
    Este artículo pretende establecer una relación entre la frase “Dios ha muerto” y el tema de la ciencia en Nietzsche. Para tal fin, se hará un análisis de la frase “Dios ha muerto” a la luz de la reciente interpretación hecha en el mundo alemán. En segundo lugar, nos ocuparemos de los conceptos de ausencia y caos para determinar si dichas nociones pueden ser consideradas como un paso ulterior a la “muerte de Dios”. Finalmente, revisaremos el tema de la ciencia: (...)
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  8. The Passions and Disinterest: From Kantian Free Play to Creative Determination by Power, via Schiller and Nietzsche.Eli I. Lichtenstein - 2019 - Ergo: An Open Access Journal of Philosophy 6:249-279.
    I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...)
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  9. Il problema della vaghezza in Nietzsche tra musica e linguaggio (The Problem of Vagueness in Nietzsche between Music and Language).Marco Parmeggiani - 2019 - Ermeneutica Letteraria. Rivista Internazionale 15 (XV):107-118.
    The concept of vagueness is essential to understand some Nietzsche’s main ideas about the relationship between language and reality. In this way, is it precisely vagueness, and not ambiguity or polysemy, which characterizes verbal-conceptual language for Nietzsche? In order to answer this question, firstly I will summarize the functions of the cognitive process, underlying all types of languages. Secondly, I will identify the Nietzsche’s closer concept in relation with the modern concept of ‘vagueness’ and interpret it following the rst section. (...)
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  10. The epistemic function of contempt and laughter in Nietzsche.Mark Alfano - 2018 - In Michelle Mason (ed.), The Moral Psychology of Contempt. Rowman & Littlefield International.
    Interpreters have noticed that Nietzsche, in addition to sometimes being uproariously funny, reflects more on laughter and having a sense of humor than almost any other philosopher. Several scholars have further noticed that Nietzschean laughter sometimes seems to have an epistemic function. In this chapter, I assume that Nietzsche is a pluralist about the functions of humor and laughter, and seek to establish the uses he finds for them. I offer an interpretation according to which he tactically uses humor and (...)
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  11. Nietzsche als Dichter. Lyrik – Poetologie – Rezeption ed. by Katharina Grätz and Sebastian Kaufmann. [REVIEW]Philip Mills - 2018 - Journal of Nietzsche Studies 49 (2):290-295.
    It is no secret that, for Nietzsche, philosophy and poetry are closely related. Some of his most important works contain poems, or even present themselves as poetry. Yet, in their efforts to make Nietzsche a respectable philosopher, scholars have turned their attention away from this poetic dimension and have privileged instead the philosophical dimension of his work. The title of the present volume, Nietzsche als Dichter, echoes Arthur Danto’s influential Nietzsche as Philosopher, and therefore aims to reinstate the part previously (...)
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  12. Nietzsche. L'antiphilosophie I. 1992–1993 by Alain Badiou. [REVIEW]Philip Mills - 2017 - Journal of Nietzsche Studies 48 (1):123-127.
    It is common knowledge that Nietzsche is very critical of traditional philosophy and strongly opposes a number of philosophers, but Alain Badiou goes beyond this claim to interpret and classify Nietzsche as an “antiphilosopher.” As such, Badiou’s interpretation belongs to the vast literature focusing on Nietzsche’s critique of metaphysics and truth. However, Badiou goes a bit further and develops a notion of “antiphilosophy” that not only is critical but also has a positive impact: Nietzsche is not only a critic of (...)
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  13. Nietzsche, the mask, and the problem of the actor.Tom Stern - 2017 - In The Philosophy of Theatre, Drama and Acting. London, UK:
    Readers of Nietzsche are not unfamiliar with the thought that his philosophical writings contain numerous at least apparent contradictions. We begin with one of them. On the one hand, Nietzsche takes pride of place in the canonical parade of theatre-haters. Indeed, he himself demands inclusion: ‘I am essentially anti-theatrical’. This antipathy appears to extend to the actor’s ‘inner longing for a role and mask’. On the other hand, Nietzsche is known as an advocate and admirer of the mask: ‘everything profound (...)
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  14. Slanted Truths: The Gay Science as Nietzsche's Ars Poetica.Joshua M. Hall - 2016 - Evental Aesthetics 5 (1):98-117.
    This essay derives its focus on poetry from the subtitle of Die Fröhliche Wissenschaft: “la gaya scienza.” Nietzsche appropriated this phrase from the phrase “gai saber” used by the Provençal knight-poets (or troubadours) of the eleventh through thirteenth centuries — the first lyric poets of the European languages — to designate their Ars Poetica or “art of poetry.” I will begin with an exploration of Nietzsche’s treatment of poets and poetry as a subject matter, closely analyzing his six aphorisms which (...)
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  15. Kantian and Nietzschean Aesthetics of Human Nature: A Comparison between the Beautiful/Sublime and Apollonian/Dionysian Dualities.Erman Kaplama - 2016 - Cosmos and History 12 (1):166-217.
    Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...)
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  16. Arte do consolo deste lado de cá: considerações sobre a fisiologia da estética de Nietzsche.Gabriel Herkenhoff Coelho Moura - 2016 - Dissertation, Universidade Federal Do Espírito Santo
    A tarefa que assumimos nesta dissertação foi colocar a pergunta: como as reflexões de Nietzsche sobre arte puderam, ao menos em parte, terem vindo a ser realizadas por meio de uma fisiologia da estética (cf. GM III 8; CW 7; NW, Objeções)? Antes de pretendermos esgotar o assunto, tentamos compreender a possibilidade de elaboração coerente desse problema ao longo do caminho de pensamento nietzschiano. Mas, para tanto, precisamos lidar com as variações de perspectiva próprias de uma filosofia que não se (...)
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  17. Science, Culture, and Philosophy: The Relation between Human, All Too Human and Nietzsche's Early Thought.Vinod Acharya - 2015 - Comparative and Continental Philosophy 7 (1):18-28.
    The goal of this article is to trace the transformations in Nietzsche's early thinking that led to the ideas published in Human, All Too Human, the first book of his mature philosophy. In contrast to his early works, in which he sides with art and philosophy in criticizing the scientific culture of his time, Nietzsche, in Human, All Too Human, hails the methodology of science as a way to overcome the metaphysical delusions of philosophy, art, and religion. However, in disagreement (...)
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  18. Emotion, Cognition, and the Value of Literature: The Case of Nietzsche's Genealogy.Antony Aumann - 2014 - Journal of Nietzsche Studies 45 (2):182-195.
    ABSTRACT One striking feature of On the Genealogy of Morals is how it is written. Nietzsche employs a literary style that provokes his readers' emotions. In Beyond Selflessness, Christopher Janaway argues that such a literary approach is integral to Nietzsche's philosophical goals. Feeling the emotions Nietzsche's style arouses is necessary for understanding the views he defends. I argue that Janaway's position is mistaken. The evidence at our disposal fails to establish that emotion is ever necessary for cognition. However, I maintain (...)
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  19. Attuned, Transcendent & Transfigured: Nietzsche's Aesthetic Psychology.A. E. Denham - 2014 - In Daniel Came (ed.), Nietzsche on Art and Life. New York, NY: Oxford University Press.
    Aesthetic transfiguration, as described by Nietzsche, is the capacity of art to alchemize the meaningless sufferings of natural existence into the aesthetically magnificent struggle that is human ‘life’. Like Nietzsche, Schopenhauer assessed ‘art from the perspective of life’. As Schopenhauer is standardly read, however, his conception of aesthetic experience has little in common with that offered by Nietzsche. Against the standard reading, this chapter argues that Nietzsche’s psychology of aesthetic experience—and in particular his idea that aesthetic transfiguration invests human experience (...)
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  20. Nietzsche on Tragedy and Morality.Christopher C. Raymond - 2014 - In Daniel Came (ed.), Nietzsche on Art and Life. Oxford University Press. pp. 57–79.
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  21. Review of Christa Davis Acampora's "Contesting Nietzsche". [REVIEW]Gabriel Zamosc - 2014 - Revista de Filosofía de la Universidad de Costa Rica 53 (135):129-135.
  22. The Dionysian Vision of the World.Ira J. Allen (ed.) - 2013 - Minneapolis, MN: Univocal Publishing.
    Before the world knew of the thinker who "philosophizes with a hammer," there was a young, passionate thinker who was captivated by the two forces found within Greek art: Dionysus and Apollo. In this essay, which was the forerunner to his groundbreaking book The Birth of Tragedy, The Dionysian Vision of the World provides an unparalleled look into the philosophical mind of one of Europe's greatest and provocative intellects at the beginning of his philosophical interrogation on the subject of art. (...)
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  23. Heidegger & Nietzsche.Babette E. Babich, Alfred Denker & Holger Zaborowski (eds.) - 2012 - Amsterdam: Rodopi.
    This volume contains new and original papers on Martin Heidegger's complex relation to Friedrich Nietzsche's philosophy. The authors not only critically discuss the many aspects of Heidegger's reading of Nietzsche, they also interpret Heidegger's thought from a Nietzschean perspective. Here is presented for the first time an overview of not only Heidegger's and Nietzsche's philosophy but also an overview of what is alive - and dead - in their thinking. Many authors through a reading of Heidegger and Nietzsche deal with (...)
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  24. Die Schönheit ist falsch, die Wahrheit hässlich: Nietzsche über die Kunst und das Leben.Christopher Janaway - 2011 - In Lore Hühn & Philipp Schwab (eds.), Die Philosophie des Tragischen: Schopenhauer - Schelling - Nietzsche. De Gruyter. pp. 531-552.
    Against the claim that Nietzsche’s early and late views on confronting the truth about human existence differ widely, this article argues that in The Birth of Tragedy tragic art is affirmative of life and not limited to beautifying illusion, while later works still contain the idea that artistic production of beauty is a falsification necessary to make existence bearable for us. Nietzsche did not start with the view that art’s value lies in sheer illusion, nor end with the view that (...)
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  25. The Re-Enchantment of the World: Secular Magic in a Rational Age.Joshua Landy & Michael T. Saler (eds.) - 2009 - Stanford, CA: Stanford University Press.
    The Re-Enchantment of the World is an interdisciplinary volume that challenges the long-prevailing view of modernity as "disenchanted." There is of course something to the widespread idea, so memorably put into words by Max Weber, that modernity is characterized by the "progressive disenchantment of the world." Yet what is less often recognized is the fact that a powerful counter-tendency runs alongside this one, an overwhelming urge to fill the vacuum left by departed convictions, and to do so without invoking superseded (...)
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  26. Freedom Ablaze: Ernst Jünger's and Michel Foucault’s Concept of Force.Leon Niemoczynski & Kevin Sodergren - 2006 - Pli 17:84-97.
  27. Tragedy, Comedy, Parody: From Hegel to Klossowski.Russell Ford - 2005 - Diacritics 35 (1):22-46.
    While it has perhaps always accompanied philosophical thought – one immediately thinks of Plato’s Dialogues – the problem of the communication of that thought, and therefore of its capacity to be taught, has acquired a new insistence in the work of post-Kantian thinkers. As evidence of this one could cite Fichte’s repeated efforts to formulate a definitive version of his Wissenschaftslehre, the model of the Bildungsroman that Hegel adopts for his Phenomenology of Spirit, Kierkegaard’s pseudonymous works, Nietzsche’s Thus Spoke Zarathustra, (...)
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  28. Nietzsche and the rapture of aesthetic disinterestedness: a response to Heidegger.Jim Urpeth - 2003 - In Nicholas Martin (ed.), Nietzsche and the German Tradition. Bern: Peter Lang. pp. 215-236.
    Taking Heidegger's prominent critique of Nietzsche's treatment of Kant's notion of 'aesthetic disinterestedness' as a foil this paper argues that, contrary to the dominant interpretation, Nietzsche's text contain a positive and radical notion of 'aesthetic disinterestedness'. It is argued that Nietzsche's naturalistic notion of aesthetic disinterestedness is a key feature of his conception of art as natural life process that contests the boundaries, values and libidinal constitution of the 'human'. The ramifications of this for Heidegger's reading of Nietzche's aesthetics are (...)
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  29. What is Male Embodiment?Terrance MacMullan - 2002 - In Nancy Tuana, Greg Johnson, Maurice Hamington & Terrance MacMullan (eds.), Revealing Male Bodies: Phenomenological and Inscriptive Accounts of Male Embodiment. Bloomington: Indiana University Press.
  30. Nietzsche After 50 Years (1950).Gottfried Benn - 2000 - New Nietzsche Studies 4 (3-4):127-137.
  31. Book review: On Nietzsche. [REVIEW]Georges Bataille & tr Boone, Bruce - 1995 - Philosophy and Literature 19 (1).
  32. Nietzsche's study of greek rhetoric.Ernst Behler - 1995 - Research in Phenomenology 25 (1):3-26.
  33. On Nietzsche.Georges Bataille - 1992 - New York: Paragon House.
    I live — if I choose to see things this way- — among a curious race that sees earth, its chance events and the vast interconnectedness of animals, mammals, ...
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  34. Das Programm ästhetischer Erziehung bei Schiller und beim frühen Nietzsche.Andreas Dorschel - 1992 - Vierteljahrsschrift Für Wissenschaftliche Pädagogik 68 (3):260-284.
    Friedrich Nietzsche, in his early work, both appropriated and transformed Friedrich Schiller’s idea of aesthetic education. Art must cease to be a mere object of private pleasure and turn into a medium of public communication – this is the vision both philosophers share. As Nietzsche assigns the rôle held by language in Schiller to music, he shifts the project’s meaning. Yet both authors have to address the paradox that art, cut off from political and economic structures they disapprove of, is (...)
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  35. A DIET OF WORMS. Aposiopetic Rhetoric in Beyond Good and Evil.David B. Allison - 1990 - Nietzsche Studien 19 (1):43.
  36. Metaphysics, Art and Language in Early Works of Nietzsche. [REVIEW]Johannes Balthasar - 1990 - Philosophy and History 23 (2):116-116.