A discussion of Nietzsche's philology as the prelude to his philosophy of science.

On Heidegger's Beitraege and the influence of Nietzsche's Will to Power (a famous non-book).

On Nietzsche, science, the oral tradition -- or the troubadours and ancient Greek music drama.

A section on PHILOSOPHY, PHILOLOGY, POETRY, includes, among others, Ch. 1: Philosophy and the Poetic Eros of Thought; Ch. 2: Philology and Aphoristic Style: Rhetoric, Sources, and Writing in Blood; Ch 3. The Birth of Tragedy: Lyric Poetry and the Music of Words
as well as a section on MUSIC, PAIN, EROS includes: Ch. 6: Philosophy as Music; Ch. 7. Songs of the Sun: Hölderlin in Venice; Ch. 8: On Pain and Tragic Joy: Nietzsche and Hölderlin
And the final section (...) on ART, NATURE, CALCULATION includes Ch. 11: The Ethos of Nature and Art: Hölderlin’s Ecological Politics as well as Ch. 12:
The Work of Art and the Museum: Heidegger, Schapiro, Gadamer; Ch. 13: The Ethical Alpha and Heidegger’s Linguistic Omega: On the Inner Affinity Between Germany and Greece etc. (shrink)

Continental Philosophy Review. 33 (2000): 159-188.

In a single aphorism in The Gay Science, Nietzsche arrays “The Problem of the Artist” in a reticulated constellation. Addressing every member of the excluded grouping of disenfranchised “others,” Nietzsche turns to the destitution of a god of love keyed to the selfturning absorption of the human heart. His ultimate and irrecusably tragic project to restore the innocence of becoming requires the affirmation of the problem of suffering as the task of learning how to love. Nietzsche sees the eros of (...) art as what can teach us how to make things beautiful, desirable, lovable in the routine truth of reality: “When they are not.” The stumbling block for those of us paralyzed by impotence and frozen in a technological age of anxiety, longing for being not becoming (eternal youth), is that one can never possess but can only win great health, again and again (like erotic desire), because one gives it away again and again as sacrifice or affirmation without reserve: that is to say, with erotic artistry. (shrink)

Nietzsche and Heidegger pose important philosophical questions to science and its technological projects. The resultant contributes to what may be called a continental philosophy of science and the author argues that only such a rigorously critical approach to the question of science permits a genuinely philosophical reflection on science. More than a thoughtful reflection on science, however, the heart of philosophy is also at stake in such reflections. The author defends that if Nietzsche proposes the resources of art to defend (...) us against truth and the deadly insights of tragic knowledge, then Nietzsche's more arresting claim is his equation of science and art, just as Heidegger aligns techne and poiesis. For Nietzsche, science and art draw upon the same creative powers and both science and art are directed to the purpose of life. /// O ponto de partida deste artigo é o reconhecimento de que Friedrich Nietzsche e Martin Heidegger são dois filósofos que colocam questões profundamente relevantes acerca da Ciência e dos seus projectos tecnológicos. Neste sentido, o plano da autora consiste em demonstrar a viabilidade e a importância do modo não-analítico, ou continental, de fazer Filosofia da Ciência, argumentando que uma reflexão genuinamente filosófica acerca da Ciência não se pode dispensar de um confronto com o modo crítico de fazer filosofia representado tanto por Nietzsche como por Heidegger. Para a autora, os pensamentos críticos destes pensadores acerca da Ciência são bem mais do que uma mera reflexão filosófica acerca da Ciência; na verdade, o que aqui está em causa é propriamente saber de que se trata quando a questão é a da própria Filosofia. Assim, e na medida em que Nietzsche propõe os recursos da arte para nos defender contra as invectivas da verdade e as intuições fatais do conhecimento trágico, a autora do artigo defende que o mais interessante na posição nietzscheana tem a ver com o seu modo de equacionar a relação entre Ciência e Arte, tal como Heidegger acabará por alinhar techne e poiesis. O fundo da questão está em que para Nietzsche tanto a Ciência como a Arte recorrem aos mesmos poderes criativos, para além de que a Ciência e a Arte estão orientadas para a defesa do mesmo propósito: a Vida. (shrink)

On the political nature of the analytic - continental distinction in professional philosophy and the general tendency to discredit continental philosophy while redesignating the rubric as analytically conceived.

Focusing on Nietzsche’s madman parable from The Gay Science, this essay shows how the language/imagery of aphorism 125 draws on a Cynical critique ofmorality that has far-reaching consequences for understanding Nietzsche’s notions of nihilism, transvaluation of values, and amor fati. My claim is that the work ofDiogenes of Sinope will shape both the rhetorical structure and the philosophical thematics of The Gay Science. As the “Socrates gone mad,” Diogenes/the madman brings his lantern to the marketplace to seek a God who (...) has fled, the deus absconditus. Countering Christian-Platonic metaphysics with Diogenean satire, Nietzsche advocates the embrace of physis as the sphere of human creation and valuation. Against this Cynical background we can see how the madman parable’s announcement of God’s death has less to do with atheism or the argument about the existence of God than it does with the existential concerns of the human being. (shrink)

The myth of the homeland -- The Nietzschean self-assertion of the German University -- The geo-politics of Heidegger's Mitteleuropa -- Heidegger's Greeks and the myth of autochthony -- Heidegger's "Nietzsche".

Paper published on author's website available at http://www.garybanham.net/PAPERS_files/Art%20and%20Symbol%20in%20Nietzsche%27s%20Aesthetics.pdf.

This paper addresses the question about the understanding of the history of continental philosophy by tracing a tradition in which this philosophy figures itself in relation to futurity. This is considered in relation to the distinct ways in which futurity is a question for Kant, Hegel and Nietzsche.

This essay considers the tensions informing Nietzsche's reflection on intertwined issues of nature, art, sexuality, and the feminine. Through the figure of Dionysus, Nietzsche articulates a suggestive understanding of generation as the upsurge of nature in its transformative movement. The juxtaposition of Luce Irigaray's elaboration of the Dionysian calls for an interrogation of Nietzsche's work regarding (1) the sublimation of nature into art and of sexuality or sensuality into artistic drives, (2) the oblivion of sexual difference in the coupling of (...) Apollo and Dionysus, and (3) the disappearance of love from the scene of creativity and procreation and, concomitantly, the emphasis on suffering and dismemberment. (shrink)

This article is based on the presupposition that postmodern philosophy has been largely influenced by Nietzsche’s writings. The author raises the question of how Nietzsche and postmodern philosophy are interpreted in the contemporary philosophical discourse in Lithuania. The conclusion drawn is that many philosophy critics in Lithuania are interested in Nietzsche’s philosophy (Mickevičius, Sodeika, Šerpytytė, Sverdiolas, Baranova) and in the problems of postmodern philosophy (Keršytė, Rubavičius, Žukauskaitė, Šerpytytė, Sverdiolas, Baranova, Norkus). The article also raises a second crucial (...) question: beyond the critics, are there any truly authentic postmodern thinkers in Lithuania? This article’s main hypotheses is that Arvydas Šliogeris’ philosophy is the best and perhaps the only example of original Lithuanian postmodern thought; it is based on, and interconnected with, the deeply inherited roots of existential thought in Lithuanian philosophical culture. The arguments for these hypotheses are as follows: first, Šliogeris is the first philosopher in Lithuania who has tried to reason in an interdisciplinary manner, e.g. trying to overcome the modernistic distinction between philosophy and the arts (especially literature, poetry, and the visual arts); secondly, Šliogeris’s philosophizing is indispensable to his writings—his texts are examples of an experience of writing as thinking and thinking as writing; thirdly, following Deleuze’s presupposition that the philosopher is a creator, one can see this creative aspect in Šliogeris’s approach. His texts show how it is possible to synthesize insights from philosophy and poetry. (shrink)

I live — if I choose to see things this way- — among a curious race that sees earth, its chance events and the vast interconnectedness of animals, mammals, ...

Drawing on Zen as well as on Nietzsche's thought and its ramifications in and for western culture, this book is a fervent call for a re-visioning of philosophy ...

“Between the earliest and the latest of the works included here, we have two hundred and fifty years of vigorous and adventurous philosophizing,” Monroe Beardsley writes in his Introduction to this collection. “If the modern period can be only vaguely or arbitrarily bounded, it can at least be studied, and we can ask whether any dominant themes, overall patterns of movement, or notable achievements can be found within it. This question is one that is best asked by the reader after (...) he has read, or read around in, these works.” This Modern Library Paperback Classic also includes a newly updated Bibliography. (shrink)

Machine generated contents note: Part I. Machiavelli, Hobbes, Rousseau: Three Versions of the Civil Religion Project: 1. Rousseau's problem; 2. The Machiavellian solution: paganization of Christianity; 3. Moses and Mohammed as founder-princes or legislators; 4. Re-founding and 'filiacide': Machiavelli's debt to Christianity; 5. The Hobbesian solution: Judaicization of Christianity; 6. Behemoth: Hobbesian 'theocracy' versus the real thing; 7. Geneva Manuscript: the apparent availability of a Rousseauian solution; 8. Social Contract: the ultimate unavailability of a Rousseauian solution; Part II. Responses to (...) (and Partial Incorporations of) Civil Religion within the Liberal Tradition: 9. Baruch Spinoza: from civil religion to liberalism; 10. Philosophy and piety: problems in Spinoza's case for liberalism (owing to a partial reversion to civil religion); 11. Spinoza's interpretation of the Commonwealth of the Hebrews, and why civil religion is a continuing presence in his version of liberalism; 12. John Locke: the liberal paradigm; 13. 'The gods of the philosophers' I: Locke and John Toland; 14. Bayle's republic of atheists; 15. Montesquieu's pluralized civil religion; 16. The Straussian rejection of the enlightenment as applied to Bayle and Montesquieu; 17. 'The gods of the philosophers' II: Rousseau and Kant; 18. Hume as a successor to Bayle; 19. Adam Smith's sequal to Hume (and Hobbes); 20. Christianity as civil religion: Tocqueville's response to Rousseau; 21. John Stuart Mill's project to turn atheism into a religion; 22. Mill's critics; 23. John Rawls's genealogy of liberalism; 24. Prosaic liberalism: Montesquieu versus Machiavelli, Rousseau, Nietzsche; Part III. Theocratic Responses to Liberalism: 25. Joseph de Maistre: the theocratic paradigm; 26. Maistrean politics; 27. Maistre and Rousseau: theocracy versus civil religion; 28. Carl Schmitt's 'theocratic' critique of Hobbes; Part IV. Post-Modern 'Theism': Nietzsche and Heidegger's Continuing Revolt Against Liberalism: 29. Nietzsche, Weber, Freud: the twentieth century confronts the death of God; 30. Nietzsche's civil religion; 31. Heidegger's sequel to Nietzsche: the longing for new gods; 32. Conclusion. (shrink)

Nietzsche and Modern Times: A study of Bacon, Descartes and Nietzsche. Laurence Lampert. New Haven: Yale University Press, 1993. Pp. xii + 475. £35.00 Nietzsche and Metaphysics. Peter Poellner. Oxford: Clarendon Press, 1995. Pp. xi + 320.