Heidegger's later philosophy has often been regarded as a lapse into unintelligible mysticism. While not ignoring its deep and difficult complexities, Julian Young's book explains in simple and straightforward language just what it is all about. It examines Heidegger's identification of loss of 'the gods', the violence of technology, and humanity's 'homelessness' as symptoms of the destitution of modernity, and his notion that overcoming 'oblivion of Being' is the essence of a turning to a post-destitute, genuinely post-modern existence. Young argues (...) that Heidegger's conception of such an overcoming is profoundly fruitful with respect to the ancient quest to discover the nature of the good life. His book will be an invaluable resource for both students and scholars of Heidegger's works. (shrink)
Da Capo -- Pforta -- Bonn -- Leipzig -- Schopenhauer -- Basel -- Richard Wagner and the birth of The birth of tragedy -- War and aftermath -- Anal philology -- Untimely meditations -- Aimez-vous Brahms? -- Auf Wiedersehen Bayreuth -- Sorrento -- Human, all-too-human -- The wanderer and his shadow -- Dawn -- The gay science -- The Salomé affair -- Zarathustra -- Nietzsche's circle of women -- Beyond good and evil -- Clearing the decks -- The genealogy of (...) morals -- 1888 -- Catastrophe -- The rise and fall of The will to power -- The end -- Nietzsche's madness. (shrink)
This book, the first comprehensive study in English of Heidegger's philosophy of art, starts in the mid-1930s with Heidegger's discussion of the Greek temple and his Hegelian declaration that a great artwork gathers together an entire culture in affirmative celebration of its foundational 'truth', and that, by this criterion, art in modernity is 'dead'. His subsequent work on Hölderlin, whom he later identified as the decisive influence on his mature philosophy, led him into a passionate engagement with the art of (...) Rilke, Ce;zanne, Klee and Zen Buddhism, liberating him not only from the overly restrictive conception of art of the mid-1930s but also from the disastrous politics of the period. Drawing on material hitherto unknown in the anglophone world, Young establishes a new account of Heidegger's philosophy of art and shows that his famous essay 'The Origin of the Work of Art' is its beginning, not its end. (shrink)
Arthur Schopenhauer was one of the greatest writers and German philosophers of the nineteenth century. His work influenced figures as diverse as Wagner, Freud and Nietzsche. Best known as a pessimist, he was one of the few philosophers read and admired by Wittgenstein. In this comprehensive introduction, Julian Young covers all the main aspects of Schopenhauer's philosophy. Beginning with an overview of Schopenhauer's life and work, he introduces the central aspects of his metaphysics fundamental to understanding his work as a (...) whole: his philosophical idealism and debt to the philosophy of Kant; his attempt to answer the question of what the world is; his account of science; and in particular his idea that 'will' is the essence of all things. Julian Young then introduces and assesses Schopenhauer's aesthetics, which occupy a central place in his philosophy. He carefully examines Schopenhauer's theories of the sublime, artistic genius and music, before assessing his ethics of compassion, his arguments for pessimism and his account of 'salvation'. In the final chapter, he considers Schopenhauer's legacy and his influence on the thought of Nietzsche and Wittgenstein, making this an ideal starting point for those coming to Schopenhauer for the first time. (shrink)
In this beautifully written account, Julian Young provides the most comprehensive biography available today of the life and philosophy of the nineteenth-century German philosopher Friedrich Nietzsche. Young deals with the many puzzles created by the conjunction of Nietzsche's personal history and his work: why the son of a Lutheran pastor developed into the self-styled 'Antichrist'; why this archetypical Prussian came to loath Bismarck's Prussia; and why this enemy of feminism preferred the company of feminist women. Setting Nietzsche's thought in the (...) context of his times - the rise of Prussian militarism, anti-Semitism, Darwinian science, the 'Youth' and emancipationist movements, as well as the 'death of God' - Young emphasises the decisive influence of Plato and of Richard Wagner on Nietzsche's attempted reform of Western culture. (shrink)
Since 1945, and particularly since the facts of the 'Heidegger case' became widely known in 1987, an enormous number of words have been devoted to establishing not only Heidegger's involvement with Nazism, but also that his philosophy is irredeemably discredited thereby. This book, while in no way denying the depth or seriousness of Heidegger's political involvement , challenges this tide of opinion, arguing that his philosophy is not compromised in any of its phases, and that acceptance of it is fully (...) consistent with a deep commitment to liberal democracy. This striking thesis is grounded in an astute examination of Heidegger's thought that will provide the reader with a clear and valuable exposition of the philosophy of one of the twentieth century's greatest thinkers. (shrink)
What is the meaning of life? In the post-modern, post-religious scientific world, this question is becoming a preoccupation. But it also has a long history: many major figures in philosophy had something to say on the subject, as Julian Young so vividly illustrates in this thought-provoking book. Part One of the book presents an historical overview of philosophers from Plato to Hegel and Marx who have believed in some sort of meaning of life, either in some supposed 'other' world or (...) in the future of this world. Part Two looks at what happened when the traditional structures that provided life with meaning ceased to be believed. With nothing to take their place, these structures gave way to the threat of nihilism, to the appearance that life is meaningless. Julian Young looks at the responses to this threat in the work of Nietzsche, Heidegger, Sartre, Camus, Foucault and Derrida. This compelling and highly engaging exploration of fundamental values will captivate anyone who's ever asked themselves where life's meaning really lies. It also makes a perfect historical introduction to philosophy. (shrink)
What is the meaning of life? In today's secular, post-religious scientific world, this question has become a serious preoccupation. But it also has a long history: many major philosophers have thought deeply about it, as Julian Young so vividly illustrates in this thought-provoking second edition of _The Death of God and the Meaning of Life_. Three new chapters explore Søren Kierkegaard’s attempts to preserve a Christian answer to the question of the meaning of life, Karl Marx's attempt to translate this (...) answer into naturalistic and atheistic terms, and Sigmund Freud’s deep pessimism about the possibility of any version of such an answer. Part 1 presents an historical overview of philosophers from Plato to Marx who have believed in a meaning of life, either in some supposed ‘other’ world or in the future of this world. Part 2 assesses what happened when the traditional structures that give life meaning began to erode. With nothing to take their place, these structures gave way to the threat of nihilism, to the appearance that life is meaningless. Young looks at the responses to this threat in chapters on Nietzsche, Heidegger, Sartre, Camus, Foucault and Derrida. Fully revised and updated throughout, this highly engaging exploration of fundamental issues will captivate anyone who’s ever asked themselves where life’s meaning really lies. It also makes a perfect historical introduction to philosophy, particularly to the continental tradition. (shrink)
Arthur Schopenhauer was one of the greatest writers and German philosophers of the nineteenth century. His work influenced figures as diverse as Wagner, Freud and Nietzsche. Best known as a pessimist, he was one of the few philosophers read and admired by Wittgenstein. In this comprehensive introduction, Julian Young covers all the main aspects of Schopenhauer's philosophy. Beginning with an overview of Schopenhauer's life and work, he introduces the central aspects of his metaphysics fundamental to understanding his work as a (...) whole: his philosophical idealism and debt to the philosophy of Kant; his attempt to answer the question of what the world is; his account of science; and in particular his idea that 'will' is the essence of all things. Julian Young then introduces and assesses Schopenhauer's aesthetics, which occupy a central place in his philosophy. He carefully examines Schopenhauer's theories of the sublime, artistic genius and music, before assessing his ethics of compassion, his arguments for pessimism and his account of 'salvation'. In the final chapter, he considers Schopenhauer's legacy and his influence on the thought of Nietzsche and Wittgenstein, making this an ideal starting point for those coming to Schopenhauer for the first time. (shrink)
This is the first comprehensive treatment of Nietzsche's Philosophy of Art to appear in English. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence and the idea of the Ubermensch. Young then divides Nietzsche's career, and his philosophy of art, into four distinct phases, but suggests that (...) these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. This is a clear and lucid account of Nietzsche's philosophy of art. It combines exegesis, interpretation and criticism in a judicious balance, and will be essential reading for all scholars of philosophy and German studies with an interest in Nietzsche or aesthetics. (shrink)
In his first book, The Birth of Tragedy, Nietzsche observes that Greek tragedy gathered people together as a community in the sight of their gods, and argues that modernity can be rescued from 'nihilism' only through the revival of such a festival. This is commonly thought to be a view which did not survive the termination of Nietzsche's early Wagnerianism, but Julian Young argues, on the basis of an examination of all of Nietzsche's published works, that his religious communitarianism in (...) fact persists through all his writings. What follows, it is argued, is that the mature Nietzsche is neither an 'atheist', an 'individualist', nor an 'immoralist': he is a German philosopher belonging to a German tradition of conservative communitarianism - though to claim him as a proto-Nazi is radically mistaken. This important reassessment will be of interest to all Nietzsche scholars and to a wide range of readers in German philosophy. (shrink)
According to Bertrand Russell, Nietzsche's only value is the flourishing of the exceptional individual. The well-being of ordinary people is, in itself, without value. Yet there are passages in Nietzsche that appear to regard the flourishing of the community as a whole alongside, perhaps even above, that of the exceptional individual. The ten essays that comprise this volume wrestle with the tension between individual and community in Nietzsche's writings. Some defend a reading close to Russell's. Others suggest that Nietzsche's highest (...) value is the flourishing of the community as a whole and that exceptional individuals find their highest value only in promoting that flourishing. In viewing Nietzsche from the perspective of community, the essays also cast new light on other aspects of his philosophy, for instance, his ideal of scientific research and his philosophy of language. (shrink)
Arthur Schopenhauer was one of the greatest writers and German philosophers of the nineteenth century. His work influenced figures as diverse as Wagner, Freud and Nietzsche. Best known as a pessimist, he was one of the few philosophers read and admired by Wittgenstein. In this comprehensive introduction, Julian Young covers all the main aspects of Schopenhauer's philosophy. Beginning with an overview of Schopenhauer's life and work, he introduces the central aspects of his metaphysics fundamental to understanding his work as a (...) whole: his philosophical idealism and debt to the philosophy of Kant; his attempt to answer the question of what the world is; his account of science; and in particular his idea that 'will' is the essence of all things. Julian Young then introduces and assesses Schopenhauer's aesthetics, which occupy a central place in his philosophy. He carefully examines Schopenhauer's theories of the sublime, artistic genius and music, before assessing his ethics of compassion, his arguments for pessimism and his account of 'salvation'. In the final chapter, he considers Schopenhauer's legacy and his influence on the thought of Nietzsche and Wittgenstein, making this an ideal starting point for those coming to Schopenhauer for the first time. (shrink)
The feeling of the sublime is, says Kant, the bitter-sweet combination of fear and utter security that one experiences in the face of, for instance, the night sky or the raging torrent. Fear of what? Fear of - this, I suggest, was Kant's seminal insight - death. But how can these feelings co-exist? Surely the one cancels the other out? Schopenhauer's great insight, I argue, was that the explanation of the sublime requires a division of the personality into two - (...) a threatened self and an unthreatened one. The feeling of "being safe whatever happens" comes from a primary identification with the individual-transcending self. The trouble, however, with Schopenhauer's account is that, based as it is on his version of idealism, it represents the entire world of nature as being absorbed into the content of the transcendent subject's consciousness. This makes the feeling of the sublime a kind of egoism, a contraction of the vastness of nature into the content of "my" consciousness. And this gets things precisely wrong, I suggest, since the feeling of the sublime is, in truth, an "oceanic" feeling, an expansion of the self into the vastness of being. What this shows, I conclude, is that to understand the sublime we actually need not idealism but a kind of realism; specifically, Heidegger's, as I call it, "magic" realism. (shrink)
Between 1934 and 1942 Heidegger delivered three series of lectures on Hölderlin’s poetry. The discussion of “Der Ister” was the last of these, although Heidegger continued to think and write about Hölderlin into the 1960s. William McNeill and Julia Davis’s recent translation of the “Ister”— volume —is the first of the Hölderlin lectures to appear in English.
As a first approximation, it may be said that the central issue in the correspondence concerns whether semantical statements are essentially, albeit implicitly, mentalistic or psychological in character. In the language of the protagonists themselves, it concerns whether statements of the form.
Nietzsche writes that the 'real task' of The Birth of Tragedy is to 'solve the puzzle of Wagner's relation to Greek tragedy'. The 'puzzle', I suggest, is the intermingling in his art and writings of earlier socialist optimism with later Schopenhauerian pessimism. According to the former the function of the 'rebirth of Greek tragedy' in the 'collective artwork' is to 'collect', and so create, community. According to the second the function of the artwork is to intimate a realm 'beyond' this (...) world of pain and death. The audacity of The Birth is that it attempts to show that Wagner can have his cake and eat it: the 'Dionysian', musical, element provides a 'metaphysical comfort', while the 'Apollonian', verbal, element draws a 'veil of oblivion' over the metaphysical, thereby allowing the artwork to solidify community. Contrary to the standard Anglophone view, this perspective on The Birth shows that Nietzsche's intimate association with Wagner during the period of its creation lies at the heart of its philosophical content. (shrink)
This collection of texts is Heidegger's first post-war book and contains some of the major expositions of his later philosophy. Of particular note are 'The Origin of the Work of Art', perhaps the most discussed of all of Heidegger's essays, and 'Nietzsche's Word 'God is Dead',' which sums up a decade of Nietzsche research. Although translations of the essays have appeared individually in a variety of places, this is the first English translation to bring them all together as Heidegger intended. (...) The text is taken from the last edition of the work, which contains the author's final corrections together with important marginal annotations that provide considerable insight into the development of his thought. This fresh and accurate new translation will be an invaluable resource for all students of Heidegger, whether they work in philosophy, literary theory, religious studies, or intellectual history. (shrink)
Since 1945, and particularly since the facts of the 'Heidegger case' became widely known in 1987, an enormous number of words have been devoted to establishing not only Heidegger's involvement with Nazism, but also that his philosophy is irredeemably discredited thereby. This book, while in no way denying the depth or seriousness of Heidegger's political involvement, challenges this tide of opinion, arguing that his philosophy is not compromised in any of its phases, and that acceptance of it is fully consistent (...) with a deep commitment to liberal democracy. This striking thesis is grounded in an astute examination of Heidegger's thought that will provide the reader with a clear and valuable exposition of the philosophy of one of the twentieth century's greatest thinkers. (shrink)
This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art into (...) four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)
This compilation of fifty-six articles together with a substantial Introduction and Afterword offers itself as a work for "students and specialists" alike. But, since the majority of articles are less than ten pages long, it is hard to regard the reference to specialists as much more than a sales pitch. The work is, in fact, in all but name, an encyclopedia. Both its length—680 pages—and its scope—Kant to Le Doeuff via, saliently, Hegel, Marx, Nietzsche, and Freud, Hermeneutics, Phenomenology, Critical Theory, (...) Structuralism, and French Post-Structuralism—indicate the ambition to comprehensiveness characteristic of an encyclopedia. (shrink)
This compilation of fifty-six articles together with a substantial Introduction and Afterword offers itself as a work for "students and specialists" alike. But, since the majority of articles are less than ten pages long, it is hard to regard the reference to specialists as much more than a sales pitch. The work is, in fact, in all but name, an encyclopedia. Both its length—680 pages—and its scope—Kant to Le Doeuff via, saliently, Hegel, Marx, Nietzsche, and Freud, Hermeneutics, Phenomenology, Critical Theory, (...) Structuralism, and French Post-Structuralism—indicate the ambition to comprehensiveness characteristic of an encyclopedia. (shrink)
Between 1934 and 1942 Heidegger delivered three series of lectures on Hölderlin’s poetry. The discussion of “Der Ister” was the last of these, although Heidegger continued to think and write about Hölderlin into the 1960s. William McNeill and Julia Davis’s recent translation of the “Ister”— volume —is the first of the Hölderlin lectures to appear in English.
