From Nietzsche's early writings to those marking the end of his intellectual life, the dynamics of what he called "physiology" permeate virtually every facet of his philosophical enterprise. In the following investigation, these dynamics are explored as an interpretive key to not only the dominant themes but also the philosophical motive underlying Nietzsche's philosophy. This motive is described in terms of his diagnosis and attempted cure for the disease of nihilism. In this we maintain that Nietzsche's foremost philosophical task is (...) that of a cultural physician. ;In pursuit of this theme, Nietzsche's "clinical standpoint" is explored and applied with regard to Socrates and Jesus Christ as two case studies in decadence. These two "cases" are a simultaneous physiological investigation into both the ancient Greek and Hebrew cultures. ;This investigation concludes with a detailed analysis of the physiological significance of the Revaluation of all Values, Eternal Recurrence, the Overman and Dionysus as integral to curing the sickness of nihilism. (shrink)

In _The Smile of Tragedy_, Daniel Ahern examines Nietzsche’s attitude toward what he called “the tragic age of the Greeks,” showing it to be the foundation not only for his attack upon the birth of philosophy during the Socratic era but also for his overall critique of Western culture. Through an interpretation of “Dionysian pessimism,” Ahern clarifies the ways in which Nietzsche sees ethics and aesthetics as inseparable and how their theoretical separation is at the root of Western nihilism. Ahern (...) explains why Nietzsche, in creating this precursor to a new aesthetics, rejects Aristotle’s medicinal interpretation of tragic art and concentrates on Apollinian cruelty as a form of intoxication without which there can be no art. Ahern shows that Nietzsche saw the human body as the vessel through which virtue and art are possible, as the path to an interpretation of “selflessness,” as the means to determining an order of rank among human beings, and as the site where ethics and aesthetics coincide. (shrink)

This book excavates the political thought embedded in Heidegger’s philosophy. Though keenly aware of the controversy over Heidegger’s National Socialism, Ward highlights the political ramifications of Heidegger’s thought as opposed to entering the polarized debate concerning the “Heidegger Case.” Chapter 1 accesses Heidegger’s political thought via the distinction Heidegger made between science and philosophy. This leads to Heidegger’s view that modern “culture,” is basically “... superficial and merely contemporary. ‘Liberalism’ will be its political embodiment”. Chapter 2 pursues these themes with (...) special emphasis on Heidegger’s opposition to any naturalistic or biological interpretation of human beings, and this in contrast with the racism of National Socialism. The third chapter describes how, for Heidegger, the rank of a people can be determined in terms of how that people comes to terms with the question of Being. Those who have not fallen away from this question still stand at the highest rank, while those who have are spiralling into decline. As in chapter 2, Nietzsche looms large in this chapter, and one gets the distinct impression here that Heidegger has taken up the Nietzschean project of restoring an order of rank sans physiologie. In chapter 4, Ward articulates “the decisive difference between Heidegger’s National Socialism and that of the National Socialists themselves”. This difference is explored through Heidegger’s interpretation of work—both physical and intellectual—as a means to understanding Heidegger’s critique of Marxism, the role of the university, and, therewith, the primarily philosophical foundation of the sciences within the spiritual mission of the German people. (shrink)

The first three chapters cover Petzet's initial encounter with the young Heidegger in Freiburg, Heidegger's connection to National Socialism and naive attempt at a spiritual revival of the German university while rector at Freiburg, and Heidegger's tentative steps back into post-war public life. The "Dialogues" in chapter 4 are mostly Petzet's recorded conversations and personal recollections of talks with Heidegger in the fifties. Based on notes unknown to Heidegger, Petzet gives us glimpses of his friend in high spirits with an (...) inner circle of friends, irritated by the "ugly attacks against him", and nervously anticipating his interview with Der Spiegel in 1966. Except for chapter 7, the gist of the "encounters" are found in chapter 5. These are Petzet's eye-witness accounts of Heidegger's meetings with various individuals. The portrait of Heidegger's happiness after meeting Clara Rilke, along with the equally poetic encounters with Hertha Koenig and Andrei Voznesensky, have a warmth about them that may tell us more about Petzet than Heidegger. There is, however, the impression of genuine intimacy in Heidegger's friendships with Paul Hassler and Jean Beaufret. In chapter 6, Petzet affirms Heidegger's positive influence on his own work as art historian and critic, and insists that exposure to the works of Cézanne and Klee pushed Heidegger's views on art beyond those expressed in his treatment of van Gogh's Peasant Shoes in "The Origin of the Work of Art". (shrink)