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  1. added 2018-12-08
    Existence Is Evidence of Immortality.Michael Huemer - manuscript
    Time may be infinite in both directions. If it is, then, if persons could live at most once in all of time, the probability that you would be alive now would be zero. Since you are alive now, with certainty, either the past is finite, or persons can live more than once.
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  2. added 2016-10-27
    Uma Perspectiva Ética do Eterno Retorno.Diego Ramos Mileli - 2015 - Revista Filosofia Capital 10 (17):96-102.
    O problema do eterno retorno, conforme este é construído no aforismo 341 da Gaia Ciência, é analisado em sua possibilidade de se construir uma perspectiva ética. Além disso, são abordadas as relações que se estabelecem entre essas expressões 'cuidado de si' e 'eterno retorno', respectivamente em Foucault e Nietzsche, de forma a compreender como as noções que residem nelas se aproximam, afastam ou complementam-se.
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  3. added 2016-07-01
    The Eternal Recurrence of the Same as the Gift of Difference: Naming the Enigma, the Enigma of Names.John Krummel - 1996 - PoMo Magazine 2 (1):31-46.
    Published in PoMo Magazine vol. 2, nr. 1 (Spring/Summer 1996) during my years as a grad student at the New School. I examine Nietzsche's presentation of the eternal recurrence, and discuss its interpretations by Heidegger, Bataille, Derrida, Klossowski, Stambaugh, and Vattimo. I will be returning to Nietzsche in the future.
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  4. added 2016-06-01
    Introduction to Cosmological Aesthetics: The Kantian Sublime and Nietzschean Dionysian.Erman Kaplama - 2010 - International Journal of the Humanities 8 (2):69-84.
    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 (...)
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  5. added 2016-05-24
    The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings.Erman Kaplama - 2016 - Cosmos and History 12 (1):218-237.
    Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis (...)
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  6. added 2015-09-14
    Nietzsche and Eternal Recurrence.Arnold Zuboff - 1973 - In Robert C. Solomon (ed.), Nietzsche: A Collection of Critical Essays. pp. 343-357.
    I critically examine Nietzsche’s argument in The Will to Power that all the detailed events of the world are repeating infinite times (on account of the merely finite possible arrangements of forces that constitute the world and the inevitability with which any arrangement of force must bring about its successors). Nietzsche celebrated this recurrence because of the power of belief in it to bring about a revaluation of values focused wholly on the value of one’s endlessly repeating life. Belief in (...)
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  7. added 2013-01-05
    Eternal Recurrence and Nihilism: Adding Weight to the Unbearable Lightness of Action.Nadeem J. Z. Hussain - manuscript
    (Version 2.4) I have argued elsewhere for ascribing an error theory about all normative and evaluative judgements to Nietzsche. Such a nihilism brings with it a puzzle: how could we—or at least the select few of us being addressed by Nietzsche—continue in the face of this nihilism? This is a philosophical puzzle and so, defeasibly, an interpretive puzzle. If there is no theory it would make sense for Nietzsche to have about how the select few could go on, then this (...)
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