This paper critically examines Deleuze’s treatment of the Nietzschean problem of nihilism. Of all the major figures in contemporary continental thought, Deleuze is at once one of the most luminous, and practically a lone voice in suggesting that nihilism may successfully be overcome. Whether or not he is correct on this point is thus a commanding question in relation to our understanding of the issue. Many commentators on Nietzsche have argued that his project of overcoming nihilism is destined to failure (...) because of the affinity between the problem of nihilism and the logic of negation. While Nietzsche wants an absolute affirmation of life, Spinoza’s principle that “all determination is negation,” as well as Hegel’s dialectical conception of negation, suggest that affirmation free of negation is not possible. However, some commentators indicate that Deleuze successfully shows how overcoming nihilism is possible because his “logic of difference” allows for an affirmation which is not dialectically reappropriated by negation. This paper argues that beyond such logical considerations, there are metaphysical and existential reasons why Deleuze’s interpretation of nihilism fails to show that it can be overcome. For Deleuze, the overcoming of nihilism hinges not just on a logic of difference, but on a radical interpretation of Nietzsche’s doctrine of eternal return as “selective being.” Drawing on recent scholarship and on Nietzsche’s own writings I argue that this is not a tenable interpretation, and also, more importantly, that the metaphysical and existential implications of this understanding of eternal return reinstate nihilism at the very point where it is supposedly overcome. Moreover, I argue that there are attendant ethical and political dangers to Deleuze’s position on nihilism. (shrink)

Camus published an essay entitled ‘Nietzsche and Nihilism,’ which was later incorporated into The Rebel . Camus' aim was to assess Nietzsche's response to the problem of nihilism. My aim is to do the same with Camus. The paper explores Camus' engagement with nihilism through its two major modalities: with respect to the individual and the question of suicide in The Myth of Sisyphus , and with respect to the collective and the question of murder in The Rebel . While (...) a Nietzschean influence thoroughly suffuses both books, it is in the second that Camus' most explicit, and most critical, engagement with the German philosopher takes place. The crux of Camus' critique of Nietzsche is that the absolute affirmation of existence he proposes as a response to nihilism cannot say ‘no’ to murder. In the terms of Camus' discussion in The Rebel , Nietzsche's philosophy is thus culpable in the straying of rebellion from its own foundations and its slide into bloody revolution. First, the paper argues that Camus' criticisms of Nietzsche are misplaced. Camus focuses his analysis on sections of the problematic text The Will to Power and misses important sections of Nietzsche's published texts which in fact support the condemnation of revolution which is the project of The Rebel . However, the paper argues that Camus moves beyond Nietzsche in radically democratizing the response to nihilism. While Nietzsche's hopes for the creation of meaning are focused on exceptional individuals, Camus insists that any response to nihilism needs to be accessible to the average person. Such a move is laudable, but it raises a number of questions and challenges regarding the type of problem nihilism is, and how these might be addressed. (shrink)

Nietzsche's critiques of traditional modes of thinking, valuing and living, as well as his radical proposals for new alternatives, have been vastly influential in a wide variety of areas, such that an understanding of his philosophy and its influence is important for grasping many aspects of contemporary thought and culture. However Nietzsche's thought is complex and elusive, and has been interpreted in many ways. Moreover, he has influenced starkly contrasting movements and schools of thought, from atheism to theology, from existentialism (...) to poststructuralism, and from Nazism to feminism. This book charts Nietzsche's influence, both historically and thematically, across a variety of these contrasting disciplines and schools of interpretation. It provides both an accessible introduction to Nietzsche's thought and its impact and an overview of contemporary approaches to Nietzsche. (shrink)

The ‘French reading’ of Nietzsche crystallized almost 50 years ago at the 1972 conference at Cerisy-la-Salle, Nietzsche aujourd’hui. An earlier version of this paper was presented at the annual conference of the Friedrich Nietzsche Society, with the theme of ‘The Politics of Difference’, Newcastle University, 20–21 September 2018. Nietzsche’s fortunes have since undergone some dramatic shifts in France, but there are signs that he is once again on the ascendency, in particular the 2016 edited collection Pourquoi nous sommes Nietzschéens. Taking (...) a bearing from the French readings, I want to explore the question of what ‘Nietzsche today’ might mean for us today. At Cerisy in 1972, the meaning of Nietzsche was centred on the twin critiques of humanism and capitalism. While these issues persist, several articles in the 2016 collection indicate that they are now inflected through the vast contemporary significance of technology. One of the key debates here is Nietzsche’s significance for transhumanism. For Bernard Stiegler, transhumanism is the culmination of nihilism, understood as the reign of big data and the total quantification of the self. In this regard, he alludes to a ‘hypernihilism’ of the contemporary era, characterised by the quantifying effects of information technologies, which work in conjunction with capitalism to produce an ultimate ‘averaging’ force. I will argue that Stiegler gives an essential corrective to the largely critical engagements with neonihilism of the Nietzscheans of the previous generation, but that his emphasis on the value of negentropy risks reaffirming the logic of the transhumanism he critiques. Nietzscheanism today, I will argue, requires an appreciation of the dual tendencies of nihilism – identified here as neonihilism and hypernihilism – such that we must draw on contributions from both generations of French Nietzscheans in order to think and respond to the problems of our contemporary era. (shrink)

Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary contexts: the (...) renewed interest in the dispositif, new materialism, the affective turn, and speculative realism. The concept of the dispositif is being rehabilitated in the contemporary context because it shows a way beyond the limiting notion of mise en scène which has dominated approaches to film, and Lyotard's prevalent use of this concept feeds into this renewal. While matter is not an explicit theme in Lyotard's writings on film, it is nevertheless one at the heart of his aesthetics, and it may be extended for application to film. Affect was an important theme for Lyotard in many contexts, including his approaches to film, where it appears to subvert film's “seductive” effects. Finally, the Real emerges as a central concept in Lyotard's last essay on cinema, where, perhaps surprisingly, it intimates something close to a speculative realist aesthetics. Each of the fundamental concepts of Lyotard's film-philosophy are introduced in the context of the current fields and debates to which they are relevant, and are discussed with filmic examples, including Michael Snow's La Région centrale, Roberto Rossellini's Stromboli, Francis Ford Coppola's Apocalypse Now, and neo-realist cinema. (shrink)

Nihilism in Postmodernity is an exploration of the nature of the problem of meaninglessness in the contemporary world through the philosophical traditions of nihilism and postmodernism. The author traces the advent of modern nihilism in the works of Nietzsche, Sartre, and Heidegger, before detailing the postmodern transformation of nihilism in the works of three major postmodern thinkers: Lyotard, Baudrillard, and Vattimo. He presents a qualified defense of their positions, arguing that while there is much under-appreciated value in their responses to (...) nihilism, they fail to address adequately the problem of contingency in contemporary life. Drawing on the critical encounters with nihilism in both existentialist and postmodern traditions, the author concludes by staking out future directions for combating meaninglessness. (shrink)

:The theme of sacrifice appears in Jean-François Lyotard's writings on cinema not in terms of any representational content but in terms of the economy of the images from which a film is formally constructed. Sacrifice is here understood in a sense derived from Bataille, and related to his notions of general economy, and of sovereignty. Lyotard's writings on cinema have received some attention in English-language scholarship, but so far this attention has been focused almost exclusively on two essays which have (...) appeared in English translation: “Acinema” and “The Unconscious as Mise-en-Scène.” I offer an analysis which also incorporates his two other important essays on cinema, “Deux métamorphoses du séduisant au cinéma” [Two Metamorphoses of the Seductive in Cinema] and “Idée d'un film souverain” [The Idea of a Sovereign Film]. The interest of the former is that it makes most explicit the aesthetic politics – evident in many of Lyotard's writings on art – specific to cinema. In the latter, Lyotard gives his most extensive treatment of cinema, and frames it in terms of Bataille's notion of sovereignty. I offer an interpretation of Lyotard's philosophy of cinema which links these quite disparate essays, foregrounding the political dimension of the sacrificial economy of images he proposes: films of any variety, even commercial cinema, may include some sequences and images which are “sacrificial” in that they are “other” to the chronological narrative of the whole. These images liberate us from the seductive effects of the narrative, and the invitation to fantasise, which act as means of imposing and reproducing dominant social and cultural norms. (shrink)

The Continuum Companion to Existentialism offers the definitive guide to a key area of modern European philosophy. The book covers the fundamental questions asked by existentialism, providing valuable guidance for students and researchers to some of the many important and enduring contributions of existentialist thinkers. Eighteen specially commissioned essays from an international team of experts explore existentialism’s relationship to philosophical method; ontology; politics; psychoanalysis; ethics; religion; literature; emotion; feminism and sexuality; cognitive science; authenticity and the self; its significance in Latin (...) American culture; and its contribution to the development of Poststructuralism. In addition, five short chapters summarise the status of canonical figures Kierkegaard, Nietzsche, Heidegger, Sartre and de Beauvoir, delineating the historical approach to their work, while pointing to new directions such research is now taking. Featuring a series of indispensable research tools (A to Z of terms, concepts and thinkers; timeline of existentialism; list of resources and an annotated guide to further reading), this Companion is an essential tool to help the new reader navigate through the heart of Existentialism and modern European philosophy. (shrink)

Gianni Vattimo occupies the relatively rare position of being both a prominent philosopher and an engaged politician. This article outlines Vattimo’s philosophy of “weak thought” and his democratic socialist politics, and argues that there is a “gap” between them: his stated political positions seem at odds with aspects of his philosophy. This gap between the phi- losophical and the political is examined with reference to the topic of globalised capitalism. I then apply Vattimo’s own strategy in reading other philosophers to (...) his thought, attempt- ing to draw out the possible political implications of weak thought against his own stated position. I do this through the application of one of Vattimo’s central concepts, Verwindung (―twisting-free‖), to globalised capitalism. I conclude with some reflections on the prospects for a politics of weak thought. (shrink)

This chapter challenges the received doxa that the generation of ‘poststructuralist’ philosophers broke decisively with existentialism and rendered it out of date, a mere historical curiosity. Drawing on recent research in the area, it draws some lines of influence, and even argues for some surprising points of commonality, between existentialism and poststructuralism. At least some of the core philosophical ideas of poststructuralists such as Michel Foucault, Jacques Derrida and Gilles Deleuze bear more in common with existentialism than is often supposed. (...) Furthermore, it addresses a common resistance to poststructuralism by committed existentialists by showing that poststructuralism does not abandon concern with responsibility and decision, but in fact develops these themes in ways that are proximate to existentialist concerns. Finally, it argues that some of the needs that some prominent contemporary philosophers find lacking in poststructuralism – in particular, the need for subjective agency – are already met in significant ways in existentialism. These three points serve to throw new light on the contemporary relevance of existentialism, and to open up new directions for research. (shrink)

Approximately one trillion, trillion, trillion (101728) years from now, the universe will suffer a “heat death.” What are the existential implications of this fact for us, today? This chapter explores this question through Lyotard’s fable of the explosion of the sun, and its uptake and extension in the works of Keith Ansell Pearson and Ray Brassier. Lyotard proposes the fable as a kind of “post-metanarrative” sometimes told to justify research and development, and indeed the meaning of our individual lives, after (...) credulity in metanarratives has been lost: it replaces the adventure of the subject of history aimed towards the perfection and emancipation of the human with the adventure of inhuman, negentropic processes aimed towards the survival and extension of complexity. Ansell Pearson illustrates how contemporary transhumanists employ such a narrative, and critiques it from a Nietzschean perspective as preserving values which are nihilistic. Brassier employs it to argue against the phenomenological view that thought must be bounded by the horizonal correlate of the body and the earth, and to advance the argument that thought should abandon all meaning and purpose and embrace nihilism. This final chapter seeks to negotiate each of these positions, showing how Lyotard’s thought helps us to reflect on the existential significance of the “deep time” revealed by contemporary science. (shrink)

This article surveys the notion of the event as it is treated in Lyotard’s works, and examines the implications of this treatment for his method, and for critical theory in general. While the event is of importance to many influential French philosophers, it is arguably Lyotard who has positioned his philosophy most central around the problem of accounting for events. For Lyotard, an event is an occurence which cannot be predicted in advance, and cannot be fully determined in retrospect. An (...) event is "nothing," in so far as it cannot be captured in theoretical representations, but it is of import to theory in so far as it disrupts representations and indicates their limits. Lyotard's work engages with the problem of the event both theoretically and performatively, not only discussing the nature of the event, but letting it govern his methodology. This chapter outlines the way in which Lyotard's engagement with the event demonstrates the implications of this notion across a wide variety of critical concerns, including metaphysics, epistemology, aesthetics, ethics, and politics. It also distinguishes Lyotard’s understanding of the event from that of other French philosophers, such as Derrida, Deleuze, and Badiou. While this chapter does not explicitly treat of the book’s main themes, its placement as the first chapter serves a general introductory function, outlining the main phases and concepts of Lyotard’s work which are frequent points of reference in the proceeding chapters. (shrink)

ABSTRACTThis paper examines the relationship of Jean-François Lyotard’s aesthetics to phenomenology, especially the works of Mikel Dufrenne and Maurice Merleau-Ponty. It argues that this comparison allows a greater understanding of Lyotard’s late aesthetic writings, which can appear gnomic and which have received relatively little critical attention. Lyotard credits Merleau-Ponty with opening the theme of difference in the aesthetic field, yet believes that the phenomenological approach can never adequately account for it. After outlining Lyotard’s early critiques of Dufrenne and Merleau-Ponty, the (...) paper will demonstrate how his late aesthetics can be understood as returning to phenomenological themes but in the form of a reversal. Lyotard’s “lesson of darkness” is that the secret power of art can never be brought into the light of phenomenal appearance, and that artworks do not testify to the birth of perception, but to its death and resurrection. (shrink)

This paper seeks to demonstrate that in Lyotard?s later works the sublime is posited as a response to nihilism. This demonstration is significantly complicated by the fact that while Lyotard frequently gave the sublime a positive valuation, he also identified it with nihilism. The paper charts Lyotard?s confrontation with nihilism throughout his career, showing how the themes with which he characterizes nihilism in his earlier works are repeated as characteristics of the sublime in his later works. It then argues that (...) for Lyotard the sublime acts as both a characterization of the nihilism of contemporary cultural conditions, and as a resource with which to respond to nihilism. Lyotard?s deployment of the sublime as such a response can be understood as an instance of his use of the sophistical strategy of retorsion, finding from within nihilism itself the potential for resistance. Moreover, this position may be understood as motivated by a rejection of revolutionary programmes for changing social conditions, and by the desire to preserve a space for justice ? understood as respect for difference. For Lyotard, the abyss between meaning and existence which characterizes both nihilism and the sublime preserves this space better than any attempt to close or bridge it. (shrink)

A connection is often made between postmodernism and nihilism, but the full meaning of such a connection is rarelyexplored. The contemporary Italian philosopher Gianni Vattimo is one of the few philosophers to have devotedmuch work to explaining this connection. Vattimo extrapolates the relevance of Nietzsche’s theory of nihilism forthe postmodern condition, arguing that the concept of the postmodern can only be thought rigorously in relation tothe nihilistic destiny of the West. This article explores Vattimo’s postmodern reading of Nietzsche and argues (...) thatthis reading helps to illuminate the connection between nihilism and the postmodern; the postmodern transformation of nihilism, which was originally a theory of the ails of modernity rather than of postmodernity; and why postmodernists may wish to affirm nihilism rather than take the accusation that postmodernism is nihilistic as a charge that must be refuted. (shrink)

One of the less-appreciated modalities of Lyotard’s rethinking of aesthetics is a consideration of the way that technologies, and in particular information technologies, reconfigure the nature of aesthetic experience. For Lyotard, information technology presents a particular problem in relation to the arts and aesthetic experience. When art uses communication technologies themselves as its matter or medium, the “traditional” model of aesthetic experience becomes problematised. Lyotard argues that this is the case because information technologies determine or “program” a conceptual meaning in (...) advance of an aesthetic experience. Therefore, we no longer have a situation of the “free play” between sensible forms and concepts that constitutes the aesthetics of the beautiful for Kant. Lyotard argues, however, that this decline in aesthetic experience as traditionally conceived need not be understood negatively: rather, it may be seen positively in so far as it furthers experimentation with materials. This chapter concludes by highlighting the positive potentials Lyotard sees in what may now be termed “new media arts,” but also indicates the limitations in Lyotard’s analysis – delimited in part by the theoretical models of information and communication he employed – and suggests directions for further research into new aesthetics from the bearings Lyotard has given us. (shrink)

A connection is often made between postmodernism and nihilism, but the full meaning of such a connection is rarely explored. The contemporary Italian philosopher Gianni Vattimo is one of the few philosophers to have devoted much work to explaining this connection. Vattimo extrapolates the relevance of Nietzsche’s theory of nihilism for the postmodern condition, arguing that the concept of the postmodern can only be thought rigorously in relation to the nihilistic destiny of the West. This article explores Vattimo’s postmodern reading (...) of Nietzsche and argues that this reading helps to illuminate (1) the connection between nihilism and the postmodern; (2) the postmodern transformation of nihilism, which was originally a theory of the ails of modernity rather than of postmodernity; and (3) why postmodernists may wish to affirm nihilism rather than take the accusation that postmodernism is nihilistic as a charge that must be refuted. (shrink)

This chapter explores Lyotard’s aesthetics in relation to the artist Yves Klein. Through the different activities of philosophy and art, Lyotard and Klein both explore the nature of sensibilité through an investigation of matter. Both paradoxically conclude that matter is in a sense immaterial. Lyotard understands matter as that part of an artwork which is diverse, unstable, and evanescent: in music, this corresponds to nuance and timbre, and in painting, to colour. Following Kant’s aesthetics, Lyotard interprets matter as that which (...) defies conceptual grasp or rational calculation. From the point of view of the concept, then, matter appears as immaterial – it is nothing at all. Klein develops his meditation on matter firstly through his monochrome “propositions,” calling attention to pure colour (in particular, blue), which he theorises as stabilisations of energy. Beyond this, Klein invents “immaterial” works, such as the famous Void exhibition (an empty room in a gallery), and his Zones of Immaterial Pictorial Sensibility. Klein understands these immaterial works as presenting matter in its “prime state,” as energy diffused in space. This chapter develops the confluences between Lyotard’s and Klein’s reflections on “immaterial matter,” and seeks to show how the results achieved in each area of activity (philosophy and art) can contribute to the other. Lyotard’s aesthetic theory provides the basis for a new interpretation of Klein which provides an alternative to his common reception as a Conceptual artist. Klein’s work, on the other hand, not only acts as a profound example of Lyotard’s theory, but functions as a corrective to Lyotard’s emphasis on the negative and privative nature of sensitivity to matter by demonstrating the creative and life-affirmative potential of such sensitivity. (shrink)

This paper mounts a philosophical defence of Peter Shaffer's 1973 play Equus by interpreting it from three perspectives: that of Freud, Jung, and Deleuze and Guattari. The latter's concept of becoming-animal is offered as a leading perspective which reveals the deep philosophical significance of the drama, belying the claims of those critics who have dismissed it as bogus or banal. This interpretation also allows Equus to be seen as an exemplary illustration of what Deleuze and Guattari mean by their intriguing (...) concept of becoming-animal, and throws fresh light on this fascinating but difficult notion. (shrink)

In 1975 Jean-François Lyotard published a short text entitled Pacific Wall. A mash-up of philosophy, fiction, biography, and art criticism, it is highly gnomic if read in isolation. Studied alongsi...

Aesthetics in Continental Philosophy Although aesthetics is a significant area of research in its own right in the analytic philosophical tradition, aesthetics frequently seems to be accorded less value than philosophy of language, logic, epistemology, metaphysics, and other areas of value theory such as ethics and political philosophy. Many of the most prominent analytic philosophers … Continue reading Aesthetics in Continental Philosophy →.