Nietzsche: Critique of Traditional Metaphysics

Eine Untersuchung zu Nietzsches Kritik am Deutschen Idealismus im Rahmen seiner allgemeinen Idealismuskritik und seiner Lehre vom Willen zur Macht.

The article critically develops Nietzsche's presence in Heidegger's second great work, Contributions to Philosophy. Heidegger considers Nietzsche the last metaphysicist. However, being Western Metaphysics' zenith is the greatest thing that can be said of a thinker, since being the one who brings to completion a school of thought makes one, at the same time, the precursor of the ‘other’ begining and thus his concept of God's dead, nihilism and truth really can open the door to a kind of post-metaphysical thought, (...) as Heidegger would say, the thought of the history od being. Therefore, between Nietzsche's "God is dead" and Heidegger's "last God" there exists continuity and parallelism that needs future development. (shrink)

Cataloguing: -/- Twilight of the Idols or How to Philosophize with a Hammer / By Friedrich Nietzsche (1844-1900). [Götzen-Dämmerung. English]. Translation of text, afterward, notes, letters, and appendixes by ©Daniel Fidel Ferrer, 2013. 1. Philosophy. 2). Metaphysics. 3). Philosophy, German. 4). Philosophy, German -- 19th century. 5). Philosophy, German – Greek influences. I. Nietzsche, Friedrich Wilhelm, 1844-1900. II. Ferrer, Daniel Fidel, 1952-.

Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...) dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)

This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...) philosophy of natural science, but also his arguments for the phenomenal validity of the metaphysical foundations, his teachings on the aesthetic human faculties of judgment and Anschauung, and the discernment of the transcendental philosophy from Platonic idealism carrying it to a cosmological level, i.e. Kant’s insertion of the concept of cosmotheoros. Since the process of transition is an aesthetic process based on human senses, intuitions and judgments, the argument will follow that in order to explicate Übergang, we need to reconcile cosmology, as the oldest branch of philosophy dealing with the interactions between the cosmic forces and the ways they affect human life, with aesthetics, as the youngest branch of philosophy dealing with how we sense, intuit and judge the form and motion of matter. Therefore, in the last analysis, Übergang becomes rather a cosmologic-aesthetic principle similar to the Heraclitean logos. Another building block of the paper is the fruitful comparison between the Kantian sublime and Nietzschean Dionysian, which are going to be construed as the aesthetic theories on human understanding representing the transition from nature to art. For they are not only conceptual – aesthetic but also dynamic – cosmological theories due to their reference both to nature and to human nature. (shrink)

Why are we still intrigued by Nietzsche? This chapter argues that sustained interest stems from Nietzsche’s challenge to what we might call the ‘staticism’ inherent in our ordinary experience. Staticism can be defined, roughly speaking, as the view that the world is a collection of enduring, re-identifiable objects that change only very gradually and according to determinate laws. The chapter discusses Nietzsche’s rejection of remnants of staticism in Hegel and Schopenhauer (1). It outlines why Nietzsche deems belief in any variant (...) of the staticist picture as problematic (2); and examines his adualistic-dialetheic stance towards, for example, first-person and third-person descriptions in the philosophy of mind (3). The chapter closes with a discussion of the contributions of "Nietzsche on Time and History". (shrink)