Nietzsche's Works

The article aims to critically analyze the conventional tripartite division within Nietzsche’s philosophy that is expressed hyperbolically in the form of personification: the young Nietzsche of the Wagnerian phase, the “positivist” or “enlightened” Nietzsche, and the mature Nietzsche. I aim to contribute to the plea for continuity, paying special attention to a variety of texts in which he acknowledges the continuity of his intellectual development as a coherent unit. This significant retrospection does not indicate rupture or rejection but recognition of (...) a single path. The last section is dedicated to the particular book that is Ecce Homo, understood as a self-presentation strategy. (shrink)

Rezension zu: Andreas Urs Sommer, Was bleibt von Nietzsches Philosophie?, Duncker & Humblot: Berlin 2018.

The expression experimental philosophy has taken on a lively interest in recent research on Nietzsche, as the growing shows number of interpreters. This reflection occupied a small place in the discussions at the end of the 20th century; a situation that changed dramatically at the beginning of our century. To understanding the questions that revolve around this philosophy, it is necessary to consider its limits and scope and, above all, the space it occupies in the work of the German thinker. (...) Through a philological approach, the development of the latest works and different uses of the concept, we will be able to highlight the of this project promising. This work aims to bring the reader closer, due to the novelty in the Spanish language, to this discussion that is attracting the gaze of those interested in philosopher of Röcken. (shrink)

La “visión del mundo” (Weltanschauung) es una cuestión que ha sido pasado por alto por un gran número de investigadores en el pensamiento de Nietzsche, aunque aparece con frecuencia en sus escritos. Pocos intérpretes han tocado esta noción, y dirigen únicamente su atención en puntos muy concretos de vista, destacando algunos aspectos menos esenciales de la misma. Parece que el concepto de Weltanschauung nunca ha sido considerado como un objeto independiente dentro de la obra de Nietzsche. Este trabajo pretende elaborar (...) un recorrido interpretativo, resaltando su importancia y, sobre todo, el lugar que posee dentro de uno de sus primeros escritos, El Nacimiento de la Tragedia. (shrink)

Bolivian writer Victor Hugo Viscarra is a constant figure on whom a good number of readers have focused their attention. Review after review of his work has been appearing in the Bolivian press and, in that sense, readers have taken his writings with a blind acceptance omitting in such a way a position that goes beyond the literary frontier. The existence of any work on Viscarra’s role as a thinker, his views on politics, the customs of society itself or the (...) imaginaries and identities in Bolivian territory is doubtful. This work aims, on the one hand, to take a critical tour of his thought from a philosophical view (particularly inspired by Nietzsche) and, on the other hand, to try to place the figure of Viscarra next to the virtues of genius and as a “critic of society”. What do Víctor Hugo Viscarra’s ideas express? Is it possible to find in your writings a critique of the way of thinking, living and acting of Bolivian society, in particular to today’s society? In short, does Viscarra’s thinking diagnose the malaise of society at that time? Answering these questions is the intention of this work. (shrink)

El pensador suizo Andreas Urs Sommer es, sin dudarlo, uno de los actuales especialistas de Nietzsche. En el año 2017 publica un texto titulado Nietzsche und die Folgen, un libro que recobra la figura del pensador alemán a la luz de ideas bastantes novedosas que hasta ahora no habían sido presentadas por la mayoría de los intérpretes de Nietzsche. En ese sentido, la filosofía experimental (Experimentalphilosophie) que presenta Sommer es la que ha llamado la atención de la crítica. Se trataría (...) de esconder bajo el juego experimental la filosofía de Nietzsche, omitiendo de ese modo un cierto tipo de compromiso de sus postulados filosóficos. Esta determinación está cobrando fuerza en la medida en que nos muestra las consecuencias de la filosofía experimental. Este trabajo pretende desarrollar, por un lado, los postulados centrales de la propuesta de Sommer para luego confrontarlos a la luz de la crítica y en qué medida dicha crítica es medular. Lo anterior da luces a una discusión que, más que inclinarse a la polémica, muestra el nutriente de una fructífera investigación. -/- The Swiss thinker Andreas Urs Sommer is, undoubtedly, one of Nietzsche’s current specialists. In the year of 2017 publishes a text entitled Nietzsche und die Folgen, a book that recovers the figure of the German thinker in the light of quite novel ideas that until now had not been presented by most of the interpreters of Nietzsche. In that sense, the experimental philosophy (Experimentalphilosophie) presented by Sommer is the one that has caught the attention of critics. It would be a matter of hiding Nietzsche’s philosophy under the experimental game, thus omitting a certain type of commitment from his philosophical postulates. This determination is gaining strength insofar as it shows us the consequences of experimental philosophy. This work aims to develop, on the one hand, the central postulates of Sommer’s proposal and then confront them in the light of criticism and to what extent such criticism is central. The foregoing gives light of a discussion that more than leaning to the controversy shows the nutrient of a fruitful investigation. (shrink)

In forging a difference between philosophy and religion, contestable generalizations are unavoidable. A helpful question for resisting hasty ones is: Which? If someone asks, “What do Hindus do or believe?” Ask, “Which Hindus?” And if someone asks, “What do atheists believe?” It’s still, “Which atheists?” Distinguishing variations of people who practice a religion helps us get specific. We could ask, “Which religion, and which philosophy?” This might lead to a provocative difference, like Nietzsche’s poke at Christianity as just Platonism for (...) the people. (shrink)

Nietzsche’s early philosophy is marked by the sentiment that “only as an aesthetic phenomenon is existence and the world eternally justified (BT §5),” however, in aphorism 313 of The Gay Science, Nietzsche writes: No image of torment: I want to follow Raphael’s example and never paint another image of torment. There are enough sublime things; one does not have to seek out sublimity where it lives in sisterhood with cruelty; anyway, my ambition would find no satisfaction if I wanted to (...) make myself a sublime torturer. Might Nietzsche be suggesting here that the tragic experience drawn from art is no longer a necessary feature of a justification of reality? In this essay, I will argue that aphorism 331 of The Gay Science illustrates that Nietzsche has significantly moved away from the claim that reality can be aesthetically justified as presented in Birth of Tragedy. I will then examine Nietzsche’s doctrine of eternal recurrence. Next, I will offer an interpretation of eternal return that presents a new justification of reality, one in which objective judgment can combat nihilism. I will further argue that, despite Nietzsche’s move away from an aesthetic conception of reality, eternal recurrence is best understood in aesthetic terms, particularly in terms of “theatricality.” Nietzsche conceives of life as a kind of play to be performed eternally, and I will demonstrate how this understanding of recurrence informs the psychological and moral question posed by the demon in Gay Science §341. (shrink)

Abstract Both the subject of science and the notion of creativity in Nietzsche have not been studied with the attention they deserve. The subject of science, however, can be considered a thread of research that is attracting the attention of a large number of philosophers. The notion of creativity, for its part, occupies, among other notions, a little known place within the interests that revolve around the figure of the thinker of Röcken. Therefore, we intend to develop a study of (...) the concept of science in Nietzsche focusing on an analysis of his criticism, to pose the gaze on the subject of Darwinism. Creativity will be studied in light of Nietzsche works and later in nexus with science. The relationship between these themes allows a novel approach to the study of science in Nietzsche and, therefore, to perceive its possible consequences. (shrink)

Until recently one begins to speak of the “experimental philosophy” in the thought of Nietzsche. This novel way of approaching the philosopher of Röcken is due specifically to the reflections of Andreas Urs Sommer, an eminent interpreter of Nietzsche. Sommer explains the “experimental philosophy” supported by paragraph 125 of The Gay Science and goes hand in hand with an important figure in that paragraph: the madman. This article aims to explain what “experimental philosophy” is and then describe that literary artifice, (...) besides being found in paragraph 125, can be found in other texts by Nietzsche. That is to say, we will stop to analyze some texts of Thus spoke Zarathustra, fundamentally in those that are the question of the solitude. Is it possible to conclude that "experimental philosophy" can be framed in the theme of Nietzsche's solitude? The use of “experimental philosophy” can show us, as far as possible, a novel way of approaching the thoughts of the German philosopher and away from the conventional interpretation that has marked the twentieth century so profoundly. Does the philosopher really express his philosophy to us? It is a question that we intend to answer in this work. (shrink)

“‘[C]onscience,’” Nietzsche suggests early in Essay Two of On the Genealogy of Morals, “has a long history and variety of forms behind it”. Glossing over the explicit equivocity and irony of such statements, most commentators presume that the primary ambition of GM is to reconstruct the emergence and in so doing denaturalize and denounce the reign of conscience, which is treated as equivalent to both bad conscience and slave morality. Such presumption has obscured the central claims, operations, and stakes of (...) the text, indeed of Nietzsche’s late work generally. Although they are intertwined, Nietzsche’s genealogy of conscience is textually, substantively, and strategically distinct from his genealogy of bad conscience, which in turn is involved in but distinct from his genealogy of slave morality. Textually, it is not until Essay Two, section four of On the Genealogy of Morals that Nietzsche begins to ask after the emergence and psychosocial consequences of bad conscience, while the genealogy of conscience proceeds from the first essay. Substantively, the three genealogies are concerned with manifestly disparate objects. Strategically, the addressees of the three genealogies are diverse, thus are their modes of address: genealogy cannot be reduced to a uniform method. (shrink)

Written at the height of the philosopher's intellectual powers, Friedrich Nietzsche's _On the Genealogy of Morals_ has become one of the key texts of recent Western philosophy. Its essayistic style affords a unique opportunity to observe many of Nietzsche's persisting concerns coming together in an illuminating constellation. A profound influence on psychoanalysis, antihistoricism, and poststructuralism and an abiding challenge to ethical theory, Nietzsche's book addresses many of the major philosophical problems and possibilities of modernity. In this unique collection focusing on (...) the _Genealogy_, twenty-five notable philosophers offer diverse discussions of the book's central themes and concepts. They explore such notions as _ressentiment_, asceticism, "slave" and "master" moralities, and what Nietzsche calls "genealogy" and its relation to other forms of inquiry in his work. The book presents a cross section of contemporary Nietzsche scholarship and philosophical investigation that is certain to interest philosophers, intellectual and cultural historians, and anyone concerned with one of the master thinkers of the modern age. (shrink)

Nietzsche's On the Genealogy of Morality is a forceful, perplexing, important book, radical in its own time and profoundly influential ever since. This introductory textbook offers a comprehensive, close reading of the entire work, with a section-by-section analysis that also aims to show how the Genealogy holds together as an integrated whole. The Genealogy is helpfully situated within Nietzsche's wider philosophy, and occasional interludes examine supplementary topics that further enhance the reader's understanding of the text. Two chapters examine how the (...) Genealogy relates to standard questions in moral and political philosophy. Written in a clear, accessible style, this book will appeal to students at every level coming to read the Genealogy for the first time, and a wider range of readers will also benefit from nuanced interpretations of controversial elements in Nietzsche's work. (shrink)

This paper seeks to evaluate Nietzsche’s positive ethical vision through a focus on the plausibility of his moral-historical account as it appears in On the Genealogy of Morals. It is then argued that Nietzsche’s account of the “slave revolt in morality” contains shortcomings that necessitate further inquiry into Nietzsche’s consequent ethical vision. Furthermore, the paper goes on to demonstrate that if a proper historical context for the “slave revolt in morality” cannot be identified, or if it cannot be shown that (...) Nietzsche’s ethical vision can stand without such a context, then a neo-Nietzschean ethic must be set aside. (shrink)

In this astonishingly rich volume, experts in ethics, epistemology, philosophy of mind, political theory, aesthetics, history, critical theory, and hermeneutics bring to light the best philosophical scholarship on what is arguably Nietzsche's most rewarding but most challenging text. Including essays that were commissioned specifically for the volume as well as essays revised and edited by their authors, this collection showcases definitive works that have shaped Nietzsche studies alongside new works of interest to students and experts alike. A lengthy introduction, annotated (...) bibliography, and index make this an extremely useful guide for the classroom and advanced research. (shrink)

Nietzsche's book On the Genealogy of Morals is often taken to be the high point of his critical project. Many of the positive aspects of Genealogy are often ignored, however, because they are difficult to explain. This article attempts to give an interpretation of the second essay of Genealogy in terms of Nietzsche's concept of will to power. On this basis, the second essay shows itself not to be simply an account of "bad conscience", but rather an account of the (...) development of morality as a whole, and one which shows the beginnings of a normative teaching. /// A obra A Genealogia da Moral é normalmente considerada como o cume do projecto crítico de Nietzsche. A verdade, porém, é que muitos dos aspectos positivos da Genealogia são frequentemente ignorados, pela simples razao de que são difíceis de explicar. O presente artigo pretende dar uma interpretação do segundo ensaio da Genealogia em termos do conceito nietzschiano da vontade de poder. Neste sentido, o segundo ensaio revela ser algo mais do que uma mera narrativa acerca do desenvolvimento da moralidade no seu conjunto, explicação essa que põe a descoberto os inicios de uma doutrina normativa. (shrink)

This essay is dedicated to elaborating some of the stylistic elements at work in Nietzsche's polemical book, On The Genealogy of Morals with particular attention to the nature of the aphorism from its inception in ancient Greek literaure, Nietzsche's specific deployment of the aphorism as such, including Nietzsche's argument structure and rhetorical technique as well as the language of Greek and Jewish antiquity, master and slave. -/- In: Christa Davis Acampora, ed., Nietzsche’s On the Genealogy of Morals: Critical Essays (Lanham, (...) Md., Rowman & Littlefield, 2006), pp. 177-190. (shrink)

1. We are unknown to ourselves, we knowing ones, we to our own selves, and for a good reason. We have never sought ourselves – so how could it happen, that one day we would find ourselves? Someone once correctly said: “where your treasure is, there your heart will be also”;1 our treasure is where the beehives of our knowledge are. We are always on the way to finding it; as winged creatures and honey-gatherers of the spirit, we truly care (...) for only one thing from the heart: to “bring something home.” Whatever else concerns life, the so-called “experiences” – who among us has enough seriousness for them? Or enough time? In these matters we have been, I fear, somewhat distracted: our hearts have not quite been in it, and not even our ears! More often, like some divine scatter-brain absorbed-in-himself into whose ear the bell has tolled the twelve strikes of noon at full power, who then suddenly wakes up and asks himself, “What was really just struck?”, just like that we rub our ears afterwards and ask, completely amazed, completely embarrassed, “what did we really experience?” and further, “who are we really?” and afterwards, as said, count the twelve trembling bell-strikes of our experience, our life, our being – ugh! and miscount them . . . We necessarily remain strangers to ourselves, we do not understand ourselves, we must get ourselves wrong, for us the saying “Each is furthest from himself” holds for all eternity – we are not “knowing ones” with respect to ourselves. (shrink)

“The genealogy of morals” is, most famously, a pair of genealogies: that of the good/evil dichotomy in the First Treatise, and that of the bad conscience in the Second Treatise. But the straightforward presentation of these two narratives is subverted even before it begins. Nietzsche classifies the book not as a treatise or inquiry but as a “polemic”; voices interrupt the narrative to insist that much is left unsaid; the narratives are framed by, of all things, reflections on the scientific (...) conscience; Nietzsche declares the entire enterprise to be a contribution to the critique of “the value of values”; the two genealogies of the first two Treatises overlap and various points and ultimately converge in a discussion of the “meaning” of the “ascetic ideal.” Whatever one makes of these complications, two tentative conclusions can be drawn. Nietzsche is profoundly concerned with the status of his genealogy. And genealogy does not function as reportage, primarily concerned with the accurate depiction of events; rather, it aims to reveal something about the status of “moral values” and the possibility of an alternative to them. (shrink)

It is seldom in dispute that genealogy, or genealogical accounts are central to Nietzsche’s philosophic enterprise. The role that genealogy plays in Nietzsche’s thought is little understood, however, as is Nietzsche’s argumentation in general, and, for that matter, what Nietzsche might be arguing for. In this paper I attempt to summarize Nietzsche’s genealogical account of modern ethical practices and offer an explanation of the philosophical import of genealogy. The difficulties in coming to understand the philosophical function of genealogy are obvious. (...) Genealogy, whatever else we say about it, offers a story of the genesis of contemporary ethical beliefs and practices. The story that Nietzsche gave is obviously a revisionist one, and Nietzsche seldom cites specific historical evidence; although it contains many historical allusions, the presentation is thematic or even mythical. At the same time, Nietzsche’s interests were primarily ethical: he seems to be attempting, in some novel way, either to solve or to eliminate1 philosophical problems about norms and values. In particular, he offered his genealogy as part of a critique of specifically “modern” values and the advancement of an “immoralism” that would take their place. So the difficulties are: it is unclear what status we should accord Nietzsche’s stories in particular, and it is unclear what role any story about the emergence of modern values can play in an assessment of those values. We seem to need a reason to take Nietzsche’s account as particularly authoritative, and then an explanation of how his account does in fact bear upon the normative status of “modern values.”. (shrink)

Toward a Genealogy of 'Deontology' ROBERT B. LOUDEN [A]ny choice of a conceptual scheme presupposes values. Hilary Putnam, Reason, Truth, and History tN Va'HICS AS ELS~.WHEI~, the basic categories used by writers to mark the conceptual terrain of their field profoundly affect readers' understanding of what is important within the field. And in ethics , most writers who habitually employ the currently accepted categories of their discipline have no knowledge of the particular history of these categories -- of who first (...) coined them, of the purposes for which they were originally intended, of how their meanings have shifted over the years, of how ascending categories have displaced descending ones, of who is primarily responsible for their current meanings, etc. As an illustration of this claim, I propose to examine the history of'deontology' in ethics, with an aim to making the recent topographical shifts within the field less "unknown to ourselves. ''~ Who was the first author to employ "the general, ugly, and familiar head- 1Cf. Nietzsche's opening remark in The Genealogy of Morals: "We are unknown to ourselves, we seekers after knowledge [w/r Erkennendon]" . It is perhaps worth noting at the outset that the following exercise in moral genealogy is not terribly Nietzschean -- I myself accept very little of the specifics of his attack on morality. However, I do concur with Nietzsche's general conviction that moral philosophers.. (shrink)

This paper raises three questions: (1) Can Nietzsche provide a satisfactory account of how the slave revolt could have begun to "poison the consciences" of masters? (2) Does Nietzsche's affinity for "master values" preclude him from acknowledging claims of justice that rest upon a sense of equality among human beings? and (3) How does Nietzsche's story fare when looked on as (at least in part) an empirical hypothesis? The first question is answered in the affirmative, the second in the negative, (...) and the third with the verdict "quite well". Nietzsche's interpretation of Socrates is held to vindicate the affirmative answer to question one; his conception of nobility as spontaneously self-affirming to justify the negative answer to question two, and historical, anthropological and etymological evidence to support the favorable answer to question three. (shrink)

The tragic philosophy of Nietzsche was conceived in his first book: that famous essay The Birth of Tragedy from the Spirit of Music [Die Geburt der Tragödie aus dem Geiste der Musik] published in 1872. In this paper we will approach the intimate relation between greek Art and greek Religions from a philosophical aesthetical point of view, reflecting how the tragic reconciliation of the dionysiac phenomenon would have promoted, according to Nietzsche, a time of great artistic sensibility and relative balance (...) of the political life for the greeks, by creating a permanent tension between the impulse of individuation and the impulse of denial of individuation. (shrink)

Deleuze does not mention Schopenhauer very frequently. Certainly Schopenhauer does not appear to be in the counter-canon of life-affirming philosophers that Deleuze so values – indeed, far from it. Nor does he appear to be even a favoured ‘enemy’ as he describes Kant, or as he sometimes appears to view Hegel. Nevertheless, I think Schopenhauer’s break from Kant is crucial for understanding not only Deleuze’s account of Nietzsche, but also for a proper grasp of the core Deleuzian distinction between the (...) actual and the virtual, at least in its guise as the distinction between desiring-production and social production in Anti-Oedipus. (shrink)

An irony, however, is that although Nietzsche had read extensively important philosophers of his time, and in fact, had been known for his ad hominem criticisms on his predecessors, there is an astonishing silence on Marx in the Nietzsche literature, as if Marx is unheard-of in Nietzsche’s time despite the very close world they lived in as though neighbors, and also despite the growing influence of socialism in Nietzsche’s time. Nietzsche openly utters his strong disgust to the German National Socialist (...) Party which was later commonly referred as the Nazis. In this connection, he never mentioned the name of Marx as though it did not exist in his vocabulary. Although at first glance, they appear similar in the sense that both of them revolted against morality and religion, and made a distinction of society into opposing classes. But, in truth, they are worlds apart. They lived on two opposite worlds. Nietzsche is from the start an antipode of Marx. Aside from presenting a clear contrast of these two thinkers, here I also come up with a Nietzschean critique on the Marxian thought. (shrink)

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 (...) with popular scholarly view, I show that Human, All Too Human does not represent a complete break with his earlier writings, but rather a shift in emphasis. I argue that the overall project connecting Nietzsche's early thought to Human, All Too Human is, first, the attempt to come to terms with the upheavals introduced into the cultural terrain by the Socratic turn, and second, to affirm a higher culture. (shrink)

RESUMEN Se analizan los textos de Rafael Gutiérrez-Girardot sobre F. Nietzsche en torno a la tragedia y el pesimismo. Esta aproximación se elabora a partir de tres temas: estilo, nihilismo y estética. Se argumenta que la interpretación de Gutiérrez-Girardot sobre Nietzsche impide que este sea visto solo como un crítico literario. Asimismo, este trabajo brinda el tono a la escritura de Rafael Gutiérrez Girardot y, de este modo, configura su estilo personal. ABSTRACT The article analyzes Rafael Gutiérrez-Girardot's texts on F. (...) Nietzsche's reflections regarding tragedy and pessimism, on the basis of three topics: style, nihilism, and aesthetics. It argues that Gutiérrez-Girardot's interpretation of Nietzsche proves that the former is not merely a literary critic, and that those texts shape the tone and personal style of Gutiérrez Girardot's writing. (shrink)

Se analizan los textos de Rafael Gutiérrez-Girardot sobre F. Nietzsche en torno a la tragedia y el pesimismo. Esta aproximación se elabora a partir de tres temas: estilo, nihilismo y estética. Se argumenta que la interpretación de Gutiérrez-Girardot sobre Nietzsche impide que este sea visto solo como un crítico literario. Asimismo, este trabajo brinda el tono a la escritura de Rafael Gutiérrez Girardot y, de este modo, configura su estilo personal.

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. (...) “While dreaming is the game man plays with reality as an individual, the visual artist plays a game with dreaming.” This is the Dionysian vision of the world. (shrink)

“How does music stand to image and concept?” (KSA 1, 104) This query in the aesthetics of media is central to Nietzsche’s Birth of Tragedy and related early texts; it shapes both their form and content. Nietzsche searches for a mode of non-conceptual philosophizing; he wishes to organize thought as a sequence of suggestive images – thoughts, that is, about that very relationship. Nietzsche’s success or failure in that endeavour becomes clearer against the foil of the 1795 controversy between Friedrich (...) Schiller and Johann Gottlieb Fichte. These disputants rigidly opposed concept and image; they identified a potential for mediation, at best, in the aftermath. Yet Nietzsche realizes that concepts are images whose character as such fell into oblivion. He undermines the established opposition, too, by introducing sound as a third medium. In spite of these insights, both Schiller and Fichte get clearer about possible coalescences of media than Nietzsche who, at the end of The Birth of Tragedy, forces their harmony by opting for Wagner’s ‘total work of art’. (shrink)