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Nietzsche, Nihilism and Spirit

In Keith Ansell-Pearson & Diane Morgan (eds.), Nihilism Now!: Monsters of Energy. St. Martin's Press. pp. 37 (2000)

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  1. Logics of violence: Religion and the practice of philosophy.Richard Beardsworth - 2000 - Cultural Values 4 (2):137-166.
    By considering the way in which the mechanism of the scapegoat in René Girard's work is predicated on a phenomenal and anthropic understanding of violence, the following shows how Girard's anthropological conception of religion determines and limits from the beginning relations between the violent and the nonviolent and the phenomenal and the nonphenornenal. This conception is then inscribed within a larger economy of violence that opens up Girard's account of victimization and sacrifice to wider determinations. Important distinctions are made along (...)
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  • Tragic Rhythms: Nietzsche and Agamben on Rhythm and Art.Conor Heaney - 2019 - Rhuthmos.
    This text has already been published, in La Deleuziana – online journal of philosophy – n. 10 / 2019 – rhythm, chaos and nonpulsed man.: This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben's discussion, first, of Nietzsche and the active nihilist's relation-ship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben's notion - (...)
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  • Tragic Rhythms: Nietzsche and Agamben on Rhythm and Art.Conor Heaney - 2019 - la Deleuziana 10.
    This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben’s discussion, first, of Nietzsche and the active nihilist’s relationship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben’s notion of the “rhythmic” and “poietic” encounter is one which situates the experience of rhythm as the experience of the originary dimension of temporality and of the (...)
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