Drawing creatively on the resources of transcendental philosophy, John Drummond makes a persuasive case for the importance of the first-person perspective in philosophical explanations of consciousness.
v. 1. Incipit Zarathustra/Incipit tragoedia: art, music, representation, and style -- v. 2. The world as will to power-- and nothing else?: metaphysics and epistemology -- v. 3. On morality -- v. 4. The last man and the overman: Nietzsche's politics..
Nietzsche's writings have shaped much contemporary reflection on the relation between philosophy and art. This book brings together a number of distinguished contributors to examine his aesthetic account of the origins and ends of philosophy. They discuss the transformative power which Nietzsche ascribes to aesthetic activity, including his aesthetic justification of existence and its fusion of social and personal existence, and they investigate his experiments with an 'aesthetic politics' and a politicisation of aesthetics. Together their essays set out the ground (...) for future debate about the inter-relation between art, philosophy, and value. (shrink)
This is the first book-length treatment of the unique nature and development of Nietzsche's post-Zarathustran political philosophy. This later political philosophy is set in the context of the critique of modernity that Nietzsche advances in the years 1885-1888, in such texts as Beyond Good and Evil, On the Genealogy of Morals, Twilight of the Idols, The Antichrist, The Case of Wagner, and Ecce Homo. In this light Nietzsche's own diagnosis of the ills of modernity is subject to the same criticism (...) that he himself levelled against previous philosophies; that it is an involuntary symptom of the age it represents. Nietzsche is seen to be aware of his own decadence and of his complicity with the very tendencies that he dissects and deplores. By relating the political philosophy, the critique of modernity and the theory of decadence Daniel Conway has written a powerful book about Nietzsche's own appreciation of the limitations of both his writing style and of his famous prophetic 'stance'. (shrink)
Contrary to much recent opinion, Daniel Conway argues that Nietzsche's political thinking is fully consistent with his diagnosis of modernity as an exhausted and dying epoch. In addition, he clearly shows how Nietzsche does not recoil from political life in late modernity, but articulates an ethical and political teaching that relocates his notorious "perfectionism" to the political sphere.
Despite his attack on metaphysical speculation, Nietzsche is generally received as a closet realist who identifies objective reality with a primordial chaos. By portraying Nietzsche as a metaphysical realist, this standard interpretation attributes to him the privileged "God's eye point of view" that his perspectivism discredits. Some readers attempt to salvage Nietzsche from the scrap heap of realism by presenting perspectivism as continuous with some strain of antirealism. But these attempts often ignore Nietzsche's apparent embrace of the categories and vocabulary (...) of realism. I argue that Nietzsche is perhaps best described as an antirealist who appreciates the pragmatic advantages of realism. (shrink)