In this paper we will present the philosopher Friedrich Nietzsche’s main reflections on the scientific enterprise, its relation to the metaphysical tradition, and how the German author drew on the nineteenth century cosmological discussion to develop a worldview that ultimately endorses a dynamic and more creative form of science, whose representations and values should not be separated from human interests.

In any list of famous last words, Socrates' are likely to figure near the top. Details of the final moments of celebrities tend anyway to exert a peculiar fascination upon the rest of us: life's very contingency provokes a need to see lives nevertheless as meaningful organic wholes, defined as such precisely by their final closure; so that even the most trivial aspects of their ending can come to seem bearers of profound significance, soliciting moral reflections apparently not less urgent (...) for their being quite unwarranted. From earliest times, this fascination with last moments has come to be concentrated in particular upon last words: situated at that most mysterious of borders, between life and death, they seem to look backwards and forwards at once, judging the speaker's own past life from the vantage-point of a future realm he is about to attain and hinting at the nature of what awaits us all from the perspective of that past life he still – however tenuously – shares with us. A moment earlier, and there is no reason to privilege any one discourse of the speaker's above another; a moment later, and his lips are sealed for ever. Only in that final moment can he seem to pass an unappealable judgement on himself, to combine in a single body two incompatible subjectivities, the one suffering and extremely mortal, the other dispassionate and transcendent. If he is a thinker or a man of action, this is his last chance to summarize a lifetime's meditation or experience in a pithy, memorable aphorism.If he is a celebrated poet, he can be imagined to have composed his own epitaph; if he is a Hellenistic poet, he may even in fact have done so. (shrink)

This article argues for an interpretation of David Strauss: the Confessor and the Writer as embodying the key components of the Nietzschean practice of conflict with a ‘worthier’ enemy. These are carefully considered under the headings of ‘agonism’, ‘imitation’, and a propulsion towards ‘escalation’, that is, beckoning a response from other, would-be, ‘worthier’ enemies. Adding to the standard ‘cultural’ explanation for the origins of the Strauss essay, this article explores the polemical ‘assassination’ of Strauss as ultimately ordered towards assuming Strauss’ (...) status as the pre-eminent Post-Christian freethinker of the era. In this way, the Meditation also acts as an intentionally provocative means for Nietzsche to beckon his audience to both ‘escalate’ the struggle further, and to recognise his presence on the intellectual landscape. Nietzsche conceives greatness as facilitated through conflict; his conflict with Strauss, a worthier foe, anticipates the strategy and approach that Nietzsche will utilise in his later and more significant disputes. (shrink)

One of the major purposes of this article is to show that friendship was one of Nietzsche's central concerns and that he shared Aristotle's belief that it takes higher and lower forms. Yet Nietzsche's interest in friendship is overlooked in much of the secondary literature. An important reason for this is that this interest is most evident in the works of his middle period, and these tend to be neglected in commentaries on Nietzsche. In the works of the middle period, (...) Nietzsche suggests that there is a close connection between friendship and selfhood, contending that an individual's friendships reflect something about his or her identity. Following Aristotle, he believes that friendship can make a significant contribution to self-knowledge and self-improvement, which are both closely associated with his notion of self-overcoming. Nietzsche encourages individuals to adopt an aesthetic approach to the self: they should refashion themselves by consolidating their strengths, minimising their weaknesses and developing themselves in new directions. The works of the middle period suggest, however, that not only can friendship foster self-overcoming, but that the talent for friendship is one of the marks of a higher human being. Recognising this requires some reconsideration of Nietzsche's putative individualism and the belief that he holds great individuals to be utterly independent and indifferent to the judgements of others. It also requires a revision of the common interpretation that he is unremittingly sceptical about pity and other forms of fellow-feeling. Yet while Nietzsche generalises about friendship in the works of the middle period and contrasts its superior and inferior forms, he remains sensitive to its particularity. He never adopts a wholly formulaic approach to this relationship, but recognises that difference and responsiveness to particularity are among its central characteristics. (shrink)

There are several strategies for exposing the defects of established moral discourse, one of which is critical argumentation. However, under certain specific historical circumstances, the apparent self-evidence of established moral discourse has gained such dominance, such a capacity of resistance or incorporation, such an ability to conceal its basic vulnerability that its validity simply seems beyond contestation. Notwithstanding the moral subject’s basic discontent, he or she remains unable to challenge the dominant discourse effectively by means of critical argument. Or, to (...) borrow a phrase from Michel Foucault, individuals find themselves faced with a certain rationality, a moral regime that dominates moral discourse to such an extent that they cannot offer any resistance without raising the suspicion of being unreasonable. They (that is, we) find ourselves confronted with a discourse quite unable to recognize its own deficiencies. Although we are forced to accept its basic claims, our chronic discontent nevertheless persists. That is, although we are forced to participate in this discourse, we remain basically ambivalent, and our attitude towards established morality contains both a Yes and a No. Then, all of a sudden, the basic vulnerability of the dominant regime dawns on us or is revealed to us – and this is the experience of laughter. (shrink)

This paper uses an extended discussion of Nietzsche’s essay “The Greek State” to uncover the political aspects of his early thinking. The paper builds on a similar discussion of another essay from the same period, “Homer on Competition,” in arguing that Nietzsche’s thinking is based on a confrontation with the work of Plato. It is argued that the key to understanding “The Greek State” is seeing it, in its entirety, as an enigmatic interpretation and re-writing of Plato’s Republic. Nietzsche interprets (...) the Republic as Plato’s accomplishment of the task of the genuine philosopher: the legislation of values and the moulding of human character. (shrink)

As is the case with his similarly polymorphous dialogue with Socrates, Friedrich Nietzsche's career-spanning engagement with the figure of Jesus is ambivalent in the extreme. In the writings of the last year of his active life however, this self-professed “antichrist” is unwavering in his commendation of the Nazarene’s character and posture vis a vis his martyrdom. Even more remarkable is the Antichrist’s heretofore-ignored tampering with the most famous death-scene in the Western tradition. This paper examines Nietzsche's bold manipulation of the (...) celebrated death-scenes of Jesus and Socrates, with particular attention paid to the possible relationship between his re-writing of the famed proceedings at Calvary, and his remarkably high regard for Jesus’ exit from the stage of life. (shrink)

In this article, I wish to show that Kaufmann was right, when he claimed that “nobody has ever found a better characterization of Nietzsche” than his own, when he talked about the “music-making Socrates” in the Birth of Tragedy. Firstly, I make some general remarks on the Birth of Tragedy. Secondly, I analyse Nietzsche’s understanding of music in the Birth of Tragedy. Thirdly, I describe the particular conception of “Socrates” as Nietzsche develops it in The Birth of Tragedy. Lastly, I (...) bring these two concepts together, showing that there are various parts of Nietzsche’s mature philosophy which demonstrate a correspondence between the qualities of the “music making Socrates” and the qualities of the later Nietzsche. In this way, I establish that the later Nietzsche is very similar to the “music-making Socrates”, whom he mentioned in his Birth of Tragedy. (shrink)