Nietzsche called The Gay Science "the most personal of all my books." It was here that he first proclaimed the death of God -- to which a large part of the book is devoted -- and his doctrine of the eternal recurrence. Walter Kaufmann's commentary, with its many quotations from previously untranslated letters, brings to life Nietzsche as a human being and illuminates his philosophy. The book contains some of Nietzsche's most sustained discussions of art and morality, (...) knowledge and truth, the intellectual conscience and the origin of logic. Most of the book was written just before Thus Spoke Zarathustra, the last part five years later, after Beyond Good and Evil. We encounter Zarathustra in these pages as well as many of Nietzsche's most interesting philosophical ideas and the largest collection of his own poetry that he himself ever published. Walter Kaufmann's English versions of Nietzsche represent one of the major translation enterprises of our time. He is the first philosopher to have translated Nietzsche's major works, and never before has a single translator given us so much of Nietzsche. (shrink)

This volume provides the first English translation of Nietzsche's unpublished notes from the spring of 1884 through the winter of 1884-85, the period in which he was composing the fourth and final part of his favorite work, Thus Spoke Zarathustra. These notebooks therefore provide special insight into Nietzsche's philosophical concept of superior humans,as well as important clues to the identities of the famous nineteenth-century European figures who inspired Nietzsche's invention of fictional characters such as "the prophet," "the (...) sorcerer," and "the ugliest human." In these notebooks, Nietzsche also further explores ideas that were introduced in the first three parts of Thus Spoke Zarathustra: Zarathustra's teaching about the death of God; his proclamation that it is time for humankind to overcome itself and create the superhumans; his discovery that the secret of life is the will to power; and his most profound thought--that the entire cosmos will eternally return. Readers will encounter here a wealth of material that Nietzsche would include in his next book, Beyond Good and Evil, as he engages the ideas of Kant and Schopenhauer, challenges cultural icons like Richard Wagner, and mercilessly exposes the foibles of his contemporaries, especially of his fellow Germans. Readers will also discover an extensive collection of Nietzsche's poetry. Richly annotated and accompanied by a detailed translators' afterword, this volume showcases the cosmopolitanism at work in Nietzsche's multifaceted and critical exploration of aesthetic and cultural influences that transcend national (and nationalist) notions of literature, music, and culture. (shrink)

Friedrich Nietzsche described The gay science as a book of 'exuberance, restlessness, contrariety and April showers'. A deeply personal and affirmative work, it straddleshis middle and late periods and contains some of the most important ideas he would ever express in writing. Moving from a critique of conventional morality, the arts and modernity to an exhilarating doctrine of self-emancipation, this playful combination of aphorisms, poetry and prose is a treasure trove of philosophical insights, brought to new life in (...) R. Kevin Hill's clear, graceful translation. (shrink)

_A philosophical exploration of the power that poetry, music, and the erotic have on us._.

Babette Babich is already known for her previous work on Nietzsche; in this, her third book, she focuses more on Nietzsche and Heidegger than Hölderlin, even though the book's title derives from a verse by Hölderlin in which the poet refers to "words, like flowers" . The reference to blood is borrowed from Zarathustra, who only loved what was "written with blood" . We follow the poetic dimensions of these two philosophers' works and their understanding of art, music, (...) and consequently, beauty and tragedy. The poetics and poems of Hölderlin have influenced the two philosophers; in some cases, Babich situates the key explanation of some Nietzschean formulas in his quotes or epigraphs taken from Hölderlin . Eight of the fourteen chapters were previously published in earlier versions. (shrink)

Research in the world of Eminescu’s manuscripts has brought again to discussion the bond between culture and creation and, within this, the relation that we are especially interested in, that between Philosophy and Poetry. It is a known fact that the poet studied philosophical works intensely, not solely out of the obligation to prepare for a university career , but mostly because he had the passion for philosophical problems, as it can be concluded from the analysis of his entire (...) poetic work, as well as the exploration of the “hidden world” in his notes books. He knew, most of all, the German Philosophy, as he transposed into Romanian pages from Kant ; but he discovered thinking affinities with the “pessimist philosopher” Arthur Schopenhauer, whom he assumed as a sort of spiritual mentor, relating thus with young Nietzsche, who had declared in his first book, “The Birth of Tragedy from the Spirit of Music”, his veneration towards the same master . Eminescu, however, did not part from Schopenhauer, but took him also as a guide to discovering the old oriental Philosophy, especially the Indian one, that had also inspired the author of “The World as Will and Representation”. Therefore, Eminescu accumulated a rich philosophical culture; but did he also produce Philosophy? (shrink)

This essay focuses on and attempts to uncover the truly radical character of Nietzsche’s early “philological” work, specifically asking after the benefit he claims the study of classical culture should have for our present, late-modern historical moment. Taking up his study of the Pre-Platonic thinkers in 1873’s Philosophie im tragischen Zeitalter der Griechen , the first section analyzes Nietzsche’s statement that history’s principle task is the uncovering of Persönlichkeiten . I argue that it is not at all the (...) subjective character of a psychologized individual that Nietzsche has in mind, but rather the moment of persönliche Stimmung or ‘being attuned’ to the world, which grounds and gives rise to thinking. In the second section, I show that the phusis or ‘nature’ to which the thinker is exposed in this attunement is comparable to the tension between the Dionysian and Apollonian natural forces in tragic poetry, as Nietzsche understands it. This dynamic conception of phusis does not provide a metaphysical substrate or an objectively real ground to which we might return via that Greeks, but is rather essentially phenomenal , i.e. it is nothing other than the movement into and out of appearance, which always entails and requires its reception by the human being to whom it appears. In the final section of the essay, this origin proves for Nietzsche not to be located in a distant past moment. Rather, it is the abyssal origin of the tradition that is always already effective in our present moment, informing our contemporary conceptions of our world and ourselves. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:NIETZSCHE AND MIMESIS by Mark P. Drost The phenomenon of imitation as it operates in Nietzsche's dieory of ecstasy is the central and most important element in his theory of tragedy and art in general. In Nietzsche's vision oftragedy we see diat this ecstasy is not limited to the individual artist, but it infects the tragic chorus and the spectators as well. Nietzsche's reinterpretation of (...) the concept of imitation is presented through the Apollonian and Dionysian artistic impulses which express themselves as distinct tendencies in die arts. In order to understand Nietzsche's concept of imitation one must trace the artwork back to the artist whose activity is an imitation of the Apollonian or die Dionysian state. The fusion of these artistic impulses in their highest development occurs in the chorus. The ecstatic impulse of the chorus results in a paradoxical act of self-displacement: a vision which exceeds the boundaries of the stage and diminishes die distance which is normally secured through the theatrical conventions of distance. We shall see how Nietzsche's vision oftragedy can be understood as a reinterpretation ofthe classical concept of imitation by contrasting it with Aristotle's theory. The classical concept ofart as imitation (mimesis) is best expressed in die Poetics ofAristotle. Under the term "mimesis" there is included an array of artistic activity, e.g., epic poetry, "the poetry of tragic drama, and, moreover comedy and dithyrambic poetry, and most flute-playing and lyre-playing" (1447al4). Since tragedy has its roots in poetry, the causes from which tragedy arises are similar to (if not identical with) the causes from which poetry arises. Poetic imitation itself appears to have two causes. First, imitation is natural to man from childhood (1448b2). Man is the most mimetic of creatures, and in childhood he learns by imitating the 309 310Philosophy and Literature people, diings, and events around him. Second, because he learns through them, man takes delight in seeing die images of things and recognizing that they are imitative. Since the pleasure of such recognition is so great, one can in fact take delight in seeing images ofthings which are painful to see in their original (1448b12). The former cause yields pleasure from the knowledge of the original while die second cause yields pleasure because one knows it is not an original. Thus the knowledge that what is being witnessed is an imitation is required for the mimetic pleasure to be experienced. Ifone has not seen the original, the pleasure one experiences is somediing different from die pleasure one takes in imitation (1448b6). It is not that imitation can never merely reproduce or copy its original in the manner of a perfect imitation, but artistic imitation requires that diere always be a sufficient difference between the representation and the original to allow for knowledge and die mimetic pleasure subsequent to it. The paradox of imitation is this: the more perfect the imitation is, the less it is known as a work ofimitation. In general, the greater die degree of the realism ofthe imitation, the greater is the need for some indication that it is art and not reality. With respect to this Arthur Danto says, "Mimesis itself, providing diat the conventions of dislocation are clear to the audience, in fact inhibits just those beliefs that would be activated widiout those conventions."1 The spectator could not obtain mimetic pleasure from the "perfect imitation" if the illusion it generated were so effective as to render the artistic medium completely transparent. The causes of mimetic pleasure are die fact diat one is presented widi an imitation and that one is aware of die difference (and/or similarity) between an object and its representation dirough an artistic medium which is never completely transparent. Although by perceiving an imitation we learn of the thing imitated, it is not essential to die concept ofimitation that there actually and empirically exist an original event or figure which explains the content of die imitation. Though the concept ofimitation is a relational concept, it is not so in the sense that there must be an originally existing personage or state ofaffairs against which we may measure the accuracy ofme mimetic representation. The... (shrink)

Beyond Good and Evil is one of the most scathing and powerful critiques of philosophy, religion, science, politics and ethics ever written. In it, Nietzsche presents a set of problems, criticisms and philosophical challenges that continue both to inspire and to trouble contemporary thought. In addition, he offers his most subtle, detailed and sophisticated account of the virtues, ideas, and practices which will characterize philosophy and philosophers of the future. With his relentlessly energetic style and tirelessly probing manner, (...) class='Hi'>Nietzsche embodies the type of thought he wants to foster, while defining its historical role and determining its agenda. This edition offers a new and readable translation, by Judith Norman, of one of the most influential texts in the history of philosophy, together with an introduction by Rolf-Peter Horstmann that sets it in its historical and philosophical context. (shrink)

Nietzsche’s relationship to the literary output of his time and his later influence on it is the theme unifying the two anthologies and the monograph under review. While Nietzsche’s stature among philosophers is now secure and uncontested, his philosophical reception in the early years was delayed and overshadowed by his literary reception: enthusiastically endorsed by writers, he was disparaged as a Dichterphilosoph by academic philosophers. But by aligning Nietzsche with positions in contemporary philosophy, commentators now underappreciate (...) class='Hi'>Nietzsche’s literary style and his desire to be seen as one of the great literary stylists and innovators. These studies redress that imbalance. They raise the larger question of what constitutes philosophy and suggest that his philosophizing breaches the divide that some place between the disciplines of philosophy and literature, particularly in an era of great academic specialization. Their goal is to show the importance of literature for Nietzsche, both in his capacity as a reader and as an author, and they approach this question from an interdisciplinary angle, combining aspects of literary science and philosophical history. (shrink)

In a small portion of The Origin of German Tragic Drama, Walter Benjamin engages in a critique of Nietzsche’s understanding of tragedy in The Birth of Tragedy. He argues that Nietzsche’s account divests individuals of significance in the tragic worldview. The corrective to Nietzsche’s view, according to Benjamin, is a reflective, historical approach to the Greek social and literary phenomenon of tragic poetry. I argue that Benjamin’s approach to tragedy and to The Birth of Tragedy is (...) inherently flawed. The paper has threesections: (1) a presentation of Benjamin’s critique of Nietzsche in The Origin of German Tragic Drama; (2) a refutation of that critique on the basis of a reading of The Birth of Tragedy; and (3) a rejection of Benjamin’s theory of tragedy on the basis of Nietzsche’sinsights into the relation to human significance of both tragedy and the science of history. (shrink)

“Supposing that truth is a women-what then?” This is the very first sentence in Nietzsche’s Beyond Good and Evil . Not very often are philosophers so disarmingly explicit in their intention to discomfort the reader. In fact, one might say that the natural state of Nietzsche’s reader is one of perplexity. Yet it is in the process of overcoming the perplexity that one realizes how rewarding to have one’s ideas challenged. In Beyond Good and Evil, Nietzsche critiques (...) the mediocre in modernity and challenges the reader to accept their state of becoming and accept improvisation and creativity of the process. Nietzsche’s book is carefully designed to disorient the reader, to systematically provoke and tease her to the point of stealing away her certainties. It is challenging yet rewarding to overcome the perplexities of Nietzsche’s teachings. (shrink)

Divided into three essays, this title offers an investigation into the origins of our moral values, or as the author calls them 'moral prejudices'. It addresses the concept of guilt and its role in the development of civilization and religion. It also considers suffering and its role in human existence.

"God is dead. God remains dead. And we have killed him." This is the book in which Nietzsche put forth his boldest declaration. It is also his most personal. Essential reading for students of philosophy, history, and literature, it features some of Nietzsche's most important discussions of art, morality, knowledge, and, ultimately, truth.

In The Birth of Tragedy Nietzsche expounds on the origins of Greek tragedy and its relevance to the German culture of its time. He declares it to be the expression of a culture which has achieved a delicate but powerful balance between Dionysian insight into the chaos and suffering which underlies all existence and the discipline and clarity of rational Apollonian form. In order to promote a return to these values, Nietzsche critiques the complacent rationalism of late nineteenth-century (...) German culture and makes an impassioned plea for the regenerative potential of the music of Wagner. A wide ranging discussion of the nature of art, science, and religion, The Birth of Tragedy's argument raises important questions about the problematic nature of cultural origins which are still valid today. (shrink)

"The three works in this collection, all dating from Nietzsche's last lucid months, show him at his most stimulating and controversial: the portentous ...

Never one to back away from controversy, Friedrich Nietzsche assails the Christian church in Twilight of the Idols. In this classic work, he sets out to substitute the morality of the Catholic and Protestant churches with that of Dionysian morality. Twilight of the Idols furthermore lays the foundation for key arguments that Nietzsche more fully develops in later writings.

A work of Nietzsche's later years, The Antichrist was written after Thus Spoke Zarathustra and shortly before the mental collapse that incapacitated him for the rest of his life. The work is both an unrestrained attack on Christianity and a further exposition of Nietzsche's will-to-power philosophy so dramatically presented in Zarathustra. Christianity, says Nietzsche, represents "everything weak, low, and botched; it has made an ideal out of antagonism towards all the self-preservative instincts of strong life." By contrast, (...) Nietzsche defines good as: "All that enhances the feeling of power, the Will to Power, and power itself in man. What is bad?-All that proceeds from weakness. What is happiness?-The feeling that power is increasing,-that resistance has been overcome." In attempting to redefine the basis of Western values by demolishing the formative influence of the Judeo-Christian tradition, The Antichrist has proved to be highly controversial and continuously stimulating to later generations of philosophers. (shrink)

Nietzsche's importance -- Nietzsche's ideas -- Nietzsche's legacy -- Aphorisms, 1875-1889 -- On truths and lies in an extramoral sense, 1873 -- On the uses and disadvantages of history for life, 1874 -- Human, all too human, 1878 -- The gay science, 1882 -- Thus spoke Zarathustra, 1883-1884 -- Beyond good and evil, 1886 -- On the genealogy of morals, 1887.

This is an annotated English edition of all of Nietzsche's work. The book is a translation of the celebrated Kritische Studienausgabe in 15 Bänden (1980) edited by Giorgio Colli and Mazzino Montinari.

The Anthology Which First Introduced Nietzsche to the English-speaking World Originally published in 1901, the result of several years of translation work by the very first generation of Nietzscheans in Britain and America, Nietzsche as Critic, Philosopher, Poet and Prophet is a comprehensive selection of Nietzsche's writings, from The Birth of Tragedy through to the final works of 1888. Arranged topically with reference to the original sources, the book still stands as one of the finest anthologies of (...) Nietzsche's writing in English and a worthwhile introduction to his thought on a wide range of subjects. This new edition also includes an appreciation of the editor and translator Thomas Common, whose tireless work promoting and translating Nietzsche over nearly twenty years was instrumental in bringing him to a wider audience. (shrink)

This chapter contains section titled: INTRODUCTION 1 2 Notes From the Will to Power From Beyond Good and Evil From Twilight of the Idols.

This is the first English translation of all of Nietzsche's writings, including his unpublished fragments, with annotation, afterwords concerning the individual texts, and indexes, in nineteen volumes. The aim of this collaborative work is to produce a critical edition for scholarly use. While the goal is to establish a readable text in contemporary English, the translation follows the original as closely as possible. All texts have been translated anew by a group of scholars, and particular attention has been given (...) to maintaining a consistent terminology throughout the volumes. The volumes have been translated from Friedrich Nietzsche, Sämtliche Werke: Kritische Studienausgabe, ed. Giorgio Colli and Mazzino Montinari, in 15 vols. This book corresponds to Vol. 6, pp. 7-458 and Vol. 14, pp. 383-528. (shrink)

Presents Nietzsche's evolving thinking on truth, which has exerted a powerful influence over modern and contemporary thought.

This collection of more than two hundred of Nietzsche's letters offers a representative body of correspondence on subjects of main concern to him--philosophy, history, morals, music and literature. Also included are letters of biographical interest which, in Middleton's words, mark the stresses and turnings of his life. Among the addressees are Richard Wagner, Erwin Rohde, Jacob Burkhardt, Lou Salome, his mother, and his sister Elisabeth. The annihilating split in Nietzsche's personality that has been associated with his collapse on (...) a street in Turin in 1889 is described in a moving letter from Franz Overbeck which forms the Epilogue. Index. (shrink)

Friedrich Nietzsche is one of the most influential thinkers of the past 150 years and On the Genealogy of Morality (1887) is his most important work on ethics and politics. A polemical contribution to moral and political theory, it offers a critique of moral values and traces the historical evolution of concepts such as guilt, conscience, responsibility, law and justice. This is a revised and updated edition of one of the most successful volumes to appear in Cambridge Texts in (...) the History of Political Thought. Keith Ansell-Pearson has modified his introduction to Nietzsche's classic text, and Carol Diethe has incorporated a number of changes to the translation itself, reflecting the considerable advances in our understanding of Nietzsche in the twelve years since this edition first appeared. In this new guise the Cambridge Texts edition of Nietzsche's Genealogy should continue to enjoy widespread adoption, at both undergraduate and graduate level. (shrink)

AN NYRB Classics Original In 1869, at the age of twenty-four, the precociously brilliant Friedrich Nietzsche was appointed to a professorship of classical philology at the University of Basel. He seemed marked for a successful and conventional academic career. Then the philosophy of Schopenhauer and the music of Wagner transformed his ambitions. The genius of such thinkers and makers—the kind of genius that had emerged in ancient Greece—this alone was the touchstone for true understanding. But how was education to (...) serve genius, especially in a modern society marked more and more by an unholy alliance between academic specialization, mass-market journalism, and the militarized state? Something more than sturdy scholarship was called for. A new way of teaching and questioning, a new philosophy... What that new way might be was the question Nietzsche broached in five vivid, popular public lectures in Basel in 1872. Anti-Education presents a provocative and timely reckoning with what remains one of the central challenges of the modern world. (shrink)

This convenient new compendium contains the five most philosophically significant of Nietzsche’s post- Thus Spoke Zarathustra writings. Nietzsche wrote of these works that he intended them as “fish hooks” for catching readers who shared his sense that a cataclysmic shift in human psychology had suddenly occurred with the advent of nihilism - the uncanny and pervasive feeling that life is devoid of all meaning, purpose, and value. Taken together these books offer the reader a definitive account of (...) class='Hi'>Nietzsche’s mature philosophy as he intended it to be presented and a sweeping attack upon everything the modern Western world holds to be good about itself. (shrink)

Beyond Good and Evil was one of the last books German philosopher Friedrich Nietzsche wrote, and has fast become one of the best-known works on moral and ethical philosophy. A collection of aphorisms and commentary largely make up one of his most celebrated works on his mature philosophy of the free spirit, and continues to be one of the most widely read and studied works of philosophy today. To be published as part of the first batch. Along with Thus (...) Spake Zaruthustra, this is Nietzsche's most popular work, in which he dismisses the a slave morality of Western civilization in favour of the a will to power. There are many editions, but they tend to be cheap paperback versions, or academic-style editions. This will be a nice looking collectable hard-back edition. (shrink)

Published posthumously in 1908, Ecce Homo was written in 1888 and completed just a few weeks before Nietzsche’s complete mental collapse. Its outrageously egotistical review of the philosopher’s life and works—featuring chapters called Why I Am So Wise and Why I Write Such Good Books—are redeemed from mere arrogance by masterful language and ever-relevant ideas. In addition to settling scores with his many personal and philosophical enemies, Nietzsche emphasizes the importance of questioning traditional morality, establishing autonomy, and making (...) a commitment to creativity. Essential reading for students of philosophy, this unique memoir is crucial to an understanding of Nietzsche’s other works. (shrink)

The revised and updated edition of Nietzsche's disputed final work, including textual research supporting its authenticity and translations of his final correspondence. Reportedly written in the mental institution at Jena following his celebrated mental collapse in Turin, and smuggled out by a fellow inmate to avoid the tyrannical eye of his sister (with whom he confesses to an incestuous relationship), My Sister and I is a reflective counterpoint to the megalomania and stridency of Ecce Homo.

Excerpt from Friedrich Nietzsches Briefwechsel mit Erwin Rohde Qinberiabre unb ben (c)tiirmen feiner 3ngenb %rieben nnb (c)iüci gefnnben batte, bir in iebem 8nge bem 8ilb entfpracb, baß er einft mehr als brei 3abre, bevor er fie fanb in einem feiner $briefe an 9tießfd;e aß fein 3beai ge3eicbnet batte. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology (...) to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Nietzsche's devastating demolition of religion would have seismic consequences for future generations. With God dead, he envisages a brilliant future for humanity- one in which individuals would at last be responsible for their destinies. Throughout history, some books have changed the world. They have transformed the way we see ourselves and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives and destroyed them. Now Penguin brings you the (...) works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are. (shrink)

A startling and thought-provoking work from one of the most powerful philosophers in the Western canon Thus Spoke Zarathustra: A Philosophy Classic, is Friedrich Nietzsche’s classic masterpiece of philosophy and literature. Nietzsche writes from the perspective of Zarathustra who, after years of meditation, has come down from a mountain to provide his wisdom to an unsuspecting world. He offers enduring observations on God, the Übermensch, the will to power, and the nature of human beings. This deluxe hardback Capstone (...) edition includes an insightful introduction from leading Nietzsche scholar Dirk R. Johnson Perfect for students and scholars of philosophy, literature and history, Thus Spoke Zarathustra: A Philosophy Classic belongs in the libraries of anyone interested in the philosophy of Nietzsche and in his powerful explorations of God, life, power, and humanity. (shrink)

In den fünf Büchern der "Fröhlichen Wissenschaft", seinem vielleicht bekanntesten Werk, radikalisiert Nietzsche seine Kritik an der Metaphysik, der Erkenntnis und der Moral. Hier findet sich der berühmte Satz »Gott ist todt«, verkündet von dem »tollen Menschen« . Der Tod Gottes steht bei Nietzsche für das historische Ereignis des Untergangs des christlichen Glaubens und dessen Folgen._1885 faßte Friedrich Nietzsche den Entschluß, eine Neue Ausgabe seiner Schriften erscheinen zu lassen, die »das Eigene und Unvergleichliche in diesen Werken« herausstellen (...) sollte. Diesem Konzept folgt auch die von Claus-Artur Scheier neu herausgegebene Ausgabe der philosophischen Werke in sechs in Bänden.BAND 1 Jenseits von Gut und Böse Die Geburt der Tragödie X, 414 SeitenBAND 2 Menschliches, Allzumenschliches 1 VI, 358 SeitenBAND 3 Menschliches, Allzumenschliches 2 VI, 330 SeitenBAND 4 Morgenröthe VI, 330 SeitenBAND 5 Die fröhliche Wissenschaft / Wir Furchtlosen VI, 338 SeitenBAND 6 Zur Genealogie der Moral Götzen-Dämmerung VI, 314 SeitenDiese erste Ausgabe der philosophischen Werke Friedrich Nietzsches in der »Philosophischen Bibliothek« folgt dem 1885 von Nietzsche selbst gefaßten und begründeten Konzept einer Neuen Ausgabe seiner im eigentlichen Sinne »philosophischen« Schriften und bietet den Text nach den Originalausgaben von 1886/1887, ergänzt um die 1889 erschienene Götzen-Dämmerung.Eine »vollständige Ausgabe letzter Hand« nach dem Vorbild Goethes hat Friedrich Nietzsche nicht vorlegen können, denn am Ende war er nicht mehr Herr seiner Sinne. Doch gibt das wirklich Grund zur Klage? Oder anders gefragt: Hätte Nietzsche eine solche Ausgabe, die einfach alles versammelt, was er geschrieben hat, überhaupt gewollt und gutgeheißen? Die Frage muß offen bleiben. Doch es gibt gewiß Gründe, Nietzsche nicht mit jenen gleichzustellen, denen es auf diese Weise nur darum zu tun war, ihren Nachruhm zu sichern und nach eigenen Vorstellungen zu steuern. Denn es gibt sie ja, die von Nietzsche selbst gewollte und kritisch kommentierte Ausgabe ganz eigener Art: nämlich die durch Jenseits von Gut und Böse und die Genealogie der Moral eingerahmte Neue Ausgabe von 1886/87, die die vor dem Zarathustra veröffentlichten, mit neuen Vorreden versehenen philosophischen Schriften enthält, von denen der Autor selber sagte: »Sie werden bemerken, daß Menschliches, Allzumenschliches, die Morgenröte, die fröhliche Wissenschaft einer Vorrede ermangeln: es hatte gute Gründe, daß ich damals, als diese Werke entstanden, mir ein Stillschweigen auferlegte – ich stand noch zu nahe, noch zu sehr ›drin‹ und wußte kaum, was mit mir geschehen war. Jetzt, wo ich selber am besten und genauesten sagen kann, was das Eigene und Unvergleichliche in diesen Werken ist und inwiefern sie eine für Deutschland neue Literatur inaugurieren , würde ich mich zu solchen zurückblickenden und nachträglichen Vorreden gerne entschließen. Meine Schriften stellen eine fortlaufende Entwicklung dar, welche nicht nur mein persönliches Erlebnis und Schicksal sein wird: – ich bin nur der Erste, eine heraufkommende Generation wird das, was ich erlebt habe, von sich aus verstehn und eine feine Zunge für meine Bücher haben. Die Vorreden könnten das Notwendige im Gange einer solchen Entwicklung deutlich machen.« Mit der 1990 unter dem Titel ›Friedrich Nietzsche: Ecce auctor‹ vorgelegten Edition der Vorreden von 1886 hatte Claus-Artur Scheier zum ersten Mal darauf aufmerksam gemacht, daß Nietzsche die für die Neue Ausgabe seiner im eigentlichen Sinne »philosophischen« Schriften verfaßten Vorreden als in sich geschlossenen, genealogisch angelegten Versuch einer selbstkritischen Neubewertung und Einordnung seines Werkes ansah: »Von der Vorrede zur Geburt der Tragödie bis zur Vorrede des letztgenannten Buchs [der ›Genealogie der Moral‹] – das gibt eine Art ›Entwicklungsgeschichte‹« . Jetzt sah sich Nietzsche im Zenit seiner Schaffenskraft, und die Neue Ausgabe sollte den Mitte 1885 gefaßten Plan vorantreiben, »eine große Schul-Tätigkeit als Philosoph auszuüben […]. Die Bücher heraus aus diesem Winkel!!! Es sind meine Angelhaken; wenn sie mir keine Menschen fangen, so haben sie keinen Sinn!«. (shrink)

The Birth of Tragedy is one of the seminal philosophical works of the modern period. The theories developed in this relatively short text have had a profound influence on the philosophy, literature, music and politics of the twentieth century. This edition presents a new translation by Ronald Speirs and an introduction by Raymond Geuss that sets the work in its historical and philosophical context. The volume also includes two essays on related topics that Nietzsche wrote during the same period.

This seminal lecture offers an account of tragic experience from the sole perspective of the Dionysian, presenting a reading of nature of startling and far-reaching implications. This work is of considerable importance and is now made available in English for the first time, with the translation set parallel to the original German in this elegant bilingual edition.

Philosophy and Truth offers the first English translation of six unpublished theoretical studies (sometimes referred to as Nietzsche's "Philosopher's Book") written just after the publication of The Birth of Tragedy and simultaneously with Untimely Meditations. In addition to the texts themselves, which probe epistemological problems on philosophy's relation to art and culture, this book contains a lengthy introduction that provides the biographical and philological information necessary for understanding these often fragmentary texts. The introduction also includes a helpful discussion of (...) Nietzsche's early views concerning culture, knowledge, philosophy, and the Greeks. (shrink)

Connecting poetry and philosophy of language, Philip Mills bridges the continental and analytical divide by bringing together the writings of Nietzsche and Wittgenstein. Through an expressivist philosophy of poetry, he argues that we can understand some of the core questions in the philosophy of language. Mills highlights the continuity of poetic language with ordinary language, and positions Nietzsche and Wittgenstein's thinking as the clearest way to expand the philosophy of poetry. By tracing the expressivist tradition (...) of philosophy of language, this study locates its roots in German Romanticism right through to the work of contemporary expressivists such as Huw Price and Robert Brandom. Where poetry has been difficult to grasp with the traditional philosophical tools used by aestheticians, A Poetic Philosophy of Language operates at the crossroads between philosophy of art and language, proposing a new philosophy of poetry with wide-ranging potentialities. (shrink)

On the Genealogy of Morals (1887) is a book about interpretation and the history of ethics which raises profoundly disquieting issues about the violence of both. This is the most sustained of Nietzsche's later works and offers one of the fullest expressions of his characteristic concerns. The introduction places his ideas within the cultural context of his own time and stresses the relevance of his work for a contemporary audience.

Selections from the books, notes, and letters of this 19th century philosopher.

Beyond Good and Evil (1886) and On the Genealogy of Morality (1887) are Nietzsche's two most persuasive and philosophical books, following close on the heels of his breakthrough hybrid Thus Spoke Zarathustra (1883-85); here for the first time Nietzsche represents himself as a philosopher, setting forth the proper activity of philosophers and training his formidable genealogical focus on the origins and motivations of morality.

Originally published as separate volumes as Mixed Opinions and Maxims (1879) andThe Wanderer and His Shadow (1880), the two works included here continue the aphoristic style begun in Volume I of Nietzsche's "Book for Free Spirits" and offer a window into the intellectual sources behind his evolution as a philosopher.

On the Genealogy of Morals is a book about the history of ethics and about interpretation. Nietzsche rewrites the former as a history of cruelty, exposing the central values of the Judaeo-Christian and liberal traditions - compassion, equality, justice - as the product of a brutal process of conditioning designed to domesticate the animal vitality of earlier cultures. The result is a book which raises profoundly disquieting issues about the violence of both ethics and interpretation. Nietzsche questions moral (...) certainties by showing that religion and science have no claim to absolute truth, before turning on his own arguments in order to call their very presuppositions into question. (shrink)

On the Genealogy of Morals is a book about the history of ethics and about interpretation. Nietzsche rewrites the former as a history of cruelty, exposing the central values of the Judaeo-Christian and liberal traditions - compassion, equality, justice - as the product of a brutal process of conditioning designed to domesticate the animal vitality of earlier cultures. The result is a book which raises profoundly disquieting issues about the violence of both ethics and interpretation. Nietzsche questions moral (...) certainties by showing that religion and science have no claim to absolute truth, before turning on his own arguments in order to call their very presuppositions into question. (shrink)

Opera prima de Friedrich Nietzsche, El origen de la tragedia es una obra intrépida y chispeante, llena de arrojo intelectual y entusiasmo juvenil, que desconcertó y fue malinterpretada por sus contemporáneos. El propio Nietzsche la calificó quince años después como un libro imposible por la ambigüedad de su estilo. En ella, el joven catedrático universitario de Filología Griega enfocaba un problema en apariencia de corte académico y filológico como el de los orígenes de la tragedia griega. Pero lo (...) hacía con tal audacia en su planteamiento, que su tesis traspasaba los límites de la filología clásica para ofrecer una visión metafísica y existencial del arte como producto de la tensión, la alternancia y la fusión de dos principios opuestos: lo apolíneo y lo dionisíaco, luz y oscuridad, razón e instinto, serenidad y embriaguez, orden y caos. El resultado fue una obra fascinante, notablemente híbrida y con una temeraria capacidad imaginativa, construida con datos filológicos y arqueológicos pero vivificada de un extremo a otro por un empeño filosófico. En todo caso -escribió su autor- aquí habla una voz extraña, el apóstol de un dios desconocido, pertrechado provisionalmente con el birrete de doctor; habla aquí el espíritu repleto de exigencias nuevas y aún inominadas, una memoria hinchada de interrogantes, de observaciones, de obscuridades; aquí habla algo como un alma mística, un alma de ménade que, atormentada y caprichosa, y casi irresoluta sobre si debe escaparse o entregarse, balbucea en cierto modo un extraño lenguaje. (shrink)

This volume of The Complete Works provides the first English translation of all Nietzsche's unpublished notes from April 1885 to the summer of 1886, the period in which he wrote his breakthrough philosophical books Beyond Good and Evil and On the Genealogy of Morality. Keen to reinvent himself after Thus Spoke Zarathustra, the philosopher used these unpublished notes to chart his search for a new philosophical voice. The notebooks contain copious drafts of book titles; critical retrospection on his earlier (...) projects; a critique of the feminine; prophetic commentary on Germany; and forays into metaphysics, epistemology, ethics, aesthetics, and language. They also reveal his deep concern for Europe and its future and a burgeoning presence of the Dionysian. We learn what Nietzsche was reading and from whom he borrowed, and we find a considerable portion of notes and fragments from the non-book "Will to Power," though here they are unembellished and unmediated. Richly annotated and accompanied by a detailed translator's afterword, this landmark volume sheds light on the controversy surrounding the Nachlass of the 1880s. (shrink)

AN NYRB Classics Original In 1869, at the age of twenty-four, the precociously brilliant Friedrich Nietzsche was appointed to a professorship of classical philology at the University of Basel. He seemed marked for a successful and conventional academic career. Then the philosophy of Schopenhauer and the music of Wagner transformed his ambitions. The genius of such thinkers and makers—the kind of genius that had emerged in ancient Greece—this alone was the touchstone for true understanding. But how was education to (...) serve genius, especially in a modern society marked more and more by an unholy alliance between academic specialization, mass-market journalism, and the militarized state? Something more than sturdy scholarship was called for. A new way of teaching and questioning, a new philosophy... What that new way might be was the question Nietzsche broached in five vivid, popular public lectures in Basel in 1872. Anti-Education presents a provocative and timely reckoning with what remains one of the central challenges of the modern world. (shrink)