This article argues that Nietzsche's 1888 writings should be understood as a Dionysian comedy that parallels important formal structures of Aristophanes' early plays. Whereas works such as The Twilight of the Idols and The Case of Wagner contain features that resemble the agonal elements of Dionysian comedy, Ecce Homo should be understood as a comic parabasis of self-definition.

Recent Anglophone scholarship has successfully shown that Nietzsche's thought makes important contributions to a wide range of contemporary philosophical debates. In so doing, however, scholarship has lost sight of another important feature of Nietzsche's project, namely his desire to challenge the very conception of philosophy that has been used to assess his merits as a philosopher. In other words, contemporary scholarship has overlooked Nietzsche's contributions to metaphilosophy, i.e. debates around the nature, methods, and aims of philosophy. This important new collection (...) of essays brings together an international group of distinguished scholars to explore and discuss these contributions and debates. It will appeal to anyone interested in metaphilosophy, Nietzsche studies, German studies, or intellectual history. (shrink)

In this book, Matthew P. Meyer analyzes the archer and the bow as a metaphor for the human condition in Lacan, Nietzsche, and Greek literature. The bow is a model of the tension at the heart of the human condition, while the archer is a symbol of control.

Instances of nudity in Westworld can be put into three categories: Nudity as a beautiful art form, nudity as a sign of (male) dominance, and nudity as a sign of humanity or more to the point, nudity as a sign of becoming human. All the hosts presented as nudes in Westworld are idealized. The hosts are always more idealized in their form than either the human guests or the human directors of the park. Kenneth Clark makes a key distinction between (...) being naked, “being without clothes”, and the nude as a form of art. He imagines that the idealized beauty of the nude is analogous to the architecture of a building: It is a “balance between an ideal scheme and functional necessities”. The idealization of the human body and the createdness of the hosts come together in the main human theme of both the park's creators and its visitors: Control. (shrink)

This is an important volume on a topic that has gained increasing traction in recent Nietzsche scholarship. In it, fourteen authors—trained philosophers and Germanists—discuss the related themes of contest, conflict, war, and the Greek agon in Nietzsche's works. Although the quality of the contributions varies, there are enough substantive essays in the volume to ensure that it will be essential reading for subsequent studies on the subject.In the introduction, the editors claim that although Nietzsche's reflections on fundamental ontology are distinct (...) from his interest in cultural institutions such as the Greek agon, they nevertheless provide important "background assumptions" for thinking about cultural... (shrink)

In The Good Place, Chidi Anogonye has difficulty making decisions. In fact, that may be his defining characteristic, and it is the one that ultimately led to his demise on Earth. The belief in “fundamental truths” entails a belief in “objective values,” that is, values that exist outside of the frame of human thinking. Simone de Beauvoir calls such a belief “the spirit of seriousness”. Beauvoir also makes a distinction between absurdity—that which has no meaning—and ambiguity—that which has no fixed (...) meaning. Chidi follows one of Beauvoir's favorite principles of existentialism: “Do what one must, come what may”. In order to understand both Chidi's and Beauvoir's meaning of “must” we have to move away from an understanding of right and wrong as existing in the world, independent of human thought and assessment. (shrink)

Beneath the stylized violence and thrilling car crashes, the Mad Max films consider universal questions about the nature of human life, order and anarchy, justice and moral responsibility, society and technology, and ultimately, human redemption. In Mad Max and Philosophy, a diverse team of political scientists, historians, and philosophers investigates the underlying themes of the blockbuster movie franchise, following Max as he attempts to rebuild himself and the world. -/- This book guides you through the barren wastelands of a post-apocalyptic (...) future as you explore ethics and politics in The Wasteland, the importance of costumes and music, humankind's relationship with nature, commerce, gender, religion, madness, and more. (shrink)

For many years, Anglo-American scholars paid scant attention to Nietzsche’s published works as integral wholes. Explicitly or implicitly, scholars agreed with Arthur Danto that Nietzsche’s texts had little order and coherence and so the interpreter’s task was to systematize Nietzsche’s philosophy for him by assembling ideas found throughout his corpus.1 Recently, however, there has been a significant increase in scholarship focused on Nietzsche’s published works. Not only have a number of readings of On the Genealogy of Morals been produced in (...) the past decade,2 scholars have recently published works devoted exclusively to texts such as The Birth of Tragedy,3 Human, All Too Human,4 and The Gay Science.5 Christa .. (shrink)

Between 1878 and 1882, Nietzsche published what he called 'the free spirit works': Human, All Too Human; Assorted Opinions and Maxims; The Wanderer and His Shadow; Daybreak; and The Gay Science. Often approached as a mere assemblage of loosely connected aphorisms, these works are here reinterpreted as a coherent narrative of the steps Nietzsche takes in educating himself toward freedom that that executes a dialectic between scientific truth-seeking and artistic life-affirmation. Matthew Meyer's new reading of these works not only provides (...) a more convincing explanation of their content but also makes better sense of the relationship between them and Nietzsche's larger oeuvre. His argument shows how these texts can and should be read as a unified project even while they present multiple, in some cases conflicting, images of the free spirit. The book will appeal to anyone who is interested in Nietzsche's philosophy and especially to those puzzled about how to understand the peculiarities of the free spirit works. (shrink)

This essay seeks to overcome the divide that has emerged in recent scholarship between Alexander Nehamas’s reading of Nietzsche as an aestheticist who eschews the dogmatism implicit in the scientific project and Brian Leiter's reading of Nietzsche as a hard-nosed naturalist whose project is continuous with the natural sciences. It is argued that Nietzsche turns to the natural sciences to justify a relationalist ontology that not only eliminates metaphysical concepts such as ‘being’ and ‘things-in-themselves’, but also can be linked to (...) key components of the aestheticist reading. As a result, Nietzsche's naturalism should not be understood as opposing important features of his aestheticism. Instead, Nietzsche's project should be understood in terms of a naturalized aestheticism that rejects the metaphysical-moral interpretation of existence espoused by philosophers such as Plato, Kant, and Schopenhauer. (shrink)

In recent years, a divide has emerged in Anglo-American scholarship between Alexander Nehamas’ reading of Nietzsche as an aestheticist who eschews the dogmatism implicit in the scientific project and Brian Leiter’s reading of Nietzsche as a hardnosed naturalist whose project is continuous with work in the natural sciences. In this paper, I argue that this divide is a false one. This is because Nietzsche thinks that a certain worldview, which he associates with the philosophy of Heraclitus, is conducive to the (...) flourishing of art, and rather than avoiding the dangers of dogmatism in presenting this view, he turns to the natural sciences to show why everyone should accept it. As a result, the crucial divide in Nietzsche’s thinking is not between naturalism and aestheticism and so science and art, but between the naturalism and aestheticism that flourished during what Nietzsche calls the tragic age of the Greeks and the metaphysics and morality characteristic of the Platonic-Christian tradition. (shrink)

Michael Ure’s introduction to Friedrich Nietzsche’s The Gay Science is a welcome contribution to the secondary literature. He provides a clear and coherent account of this complex text and situates his interpretation within Nietzsche’s larger oeuvre and philosophical project. Ure advances an original thesis—GS is Nietzsche’s attempt to revive an ancient understanding of philosophy as a way of life—that will be of interest to scholars more generally, and yet he still succeeds in introducing the text to the novice reader. Although (...) I identify some points of disagreement below, Ure has nevertheless written the best introduction to GS currently available in the English language.The structure of Ure’s text largely... (shrink)

Westworld is a television series on HBO (2016–present), based on a movie of the same name by Michael Crichton. The plot of the show is wide-reaching. The first season shows us an adult theme park where android “hosts” serve the wealthy “guests.” Seasons two and three show the attempt of the hosts to escape this servitude, and then, in a twist, help humans do the same outside of the parks. This chapter links all three seasons of Westworld to theories of (...) colonization. First, it explores the types of colonialism as they pertain to Westworld. Then it looks at the various scopes of colonization in Westworld – the colonization of space, time, and psychic space. Next, it explores the psychology of colonizers and the colonized as it pertains to the show. Lastly, it explores possible forms of liberation from colonization that the show has to offer. (shrink)