Some commentators have argued that curiosity, not honesty, is Nietzsche’s central intellectual virtue. These commentators give minimalistic interpretations of the nature of Nietzsche’s concept of honesty, casting it as a disposition to ensure that relevant epistemic standards are applied during belief formation. I argue against such interpretations by highlighting three strands of Nietzsche’s concept of honesty which they fail to accommodate. I interpret Nietzsche’s concept of honesty against the background of his drive psychology and show that it applies not only (...) to reflective cognitive processes but also to unconscious cognitive processes. In concluding, I explain the key role which honesty plays in Nietzsche’s project of translating ‘man back into nature’. (shrink)

A person can appropriately manifest respect toward a world heritage ruin by developing a sensitive understanding of the ruin’s cultural and historical context and significance. In this paper, we link such respectful understanding to the question of the aesthetic appreciation of world heritage ruins. Our claim is that an aesthetic appreciation of a world heritage ruin qua world heritage ruin typically involves two things: first, the responsibility not to neglect the individuality of the object, and, second, a commitment to the (...) idea that it is the object—respectfully conceived—which must be the focus of our appreciation. (shrink)

In recent years several scholars have wrestled with the term “poetic thought,” suggesting in various ways there is something distinctive about the nature of meaning as it occurs/unfolds through poetry. In this paper I suggest, in part following the lead of Simon Jarvis, that one of the most fruitful lines of inquiry for exploring this idea lies in a consideration of poetic works through the lens of Heidegger’s early phenomenology. Specifically, I argue that one of the keys to understanding poetic (...) thought lies in a flaw within Heidegger’s ontological divisions between substances, equipment and Dasein, as presented in Being and Time. Through an analysis of three poems by Frank O'Hara, I argue poetry that examines and represents the physical world presents a problem for Heidegger when he suggests equipment in the world must necessarily “withdraw” in order for us to engage with it authentically. To address this, the term environment-at-hand is introduced to describe the relationship between art... (shrink)