Nietzsche: Metaphysics

La “visión del mundo” (Weltanschauung) es una cuestión que ha sido pasado por alto por un gran número de investigadores en el pensamiento de Nietzsche, aunque aparece con frecuencia en sus escritos. Pocos intérpretes han tocado esta noción, y dirigen únicamente su atención en puntos muy concretos de vista, destacando algunos aspectos menos esenciales de la misma. Parece que el concepto de Weltanschauung nunca ha sido considerado como un objeto independiente dentro de la obra de Nietzsche. Este trabajo pretende elaborar (...) un recorrido interpretativo, resaltando su importancia y, sobre todo, el lugar que posee dentro de uno de sus primeros escritos, El Nacimiento de la Tragedia. (shrink)

The main assumption and conclusion of this book is summarized by Nietzsche’s thought and his single sentence (Motto): "The tragic era for Europe: due to the struggle with nihilism. (Das tragische Zeitalter für Europa: bedingt durch den Kampf mit dem Nihilismus). " eKGWB/NF-1886, 7 [31]. I have translated the entire group of notes that start with a note giving Nietzsche’s location “Lenzer Heide” (Graubünden, Switzerland) dated June 10, 1887 (Lenzer Heide den 10. Juni 1887). From the first note, eKGWB/NF-1886. 5 (...) [71] and then subsection ending at the final note: eKGWB/NF-1886. 5 [110]. Also in this publication, Friedrich Nietzsche. Sämtliche Werke Kritische Studienausgabe in 15 Bänden (KSA). Volume information, KSA 12. Nachgelassene Fragmente 1885-1887, (1967). Section or notebook, five. 5 = NVÜ3. Sommer 1886—Herbst 1887. The Lenzer Heide subsection is from 5 [71] and goes to section 5 [110]. Pages for this subsection are p. 211-229 (KSA 12). The editor sometimes use letter spacing as way to emphasis what Nietzsche wrote, for example, “N i h i l i s m u s”; for the word ‘Nihilismus’. Over 190+ Nietzsche’s notes are translated in this text. Additional materials from his published writing are also included in the topics discussed. The general background is the context of Martin Heidegger’s Nietzsche interpretations. Principle conclusion: all of Nietzsche’s philosophical thought can be seen as his response to the urgent crisis of Nihilism. Countermovement to Nihilism. Additional topics and many more translations covering: the eternal return of the same, Will to Power, B. Spinoza (1632-1677), concept of meaninglessness, Nihilism and Nietzsche Thought, Stages or the outline of Nihilism, Chronological Nietzsche’s Thoughts on Nihilism, and Nietzsche on the Nihilist. Other topics covered are: Nietzsche Contra Metaphysics: Rejection of ontology and Being Rejection of God Rejection of metaphysicians Rejection of the idea of eternal Rejection of supersensuous Rejection of Platonism Rejection of the dignity of humanity (metaphysicians) Rejection of eternal values Rejection of immorality Possible Metaphysical Claims for the idea of Will-to-Power, Connection of Will to Power and Amor Fati, Anti-metaphysical and perspectivism, Nietzsche's Metahistory of philosophy, and Bibliographic sources. (shrink)

The aim of this study is to examine the relation between Nietzsche’s perspectivism and his doctrine of the will to power and to show that perspectivism is almost a direct and natural consequence of the doctrine of the will to power. Without exploring the doctrine, it is not possible to understand what Nietzsche’s perspectivism is and what he trying to do by proposing it as an alternative to traditional epistemology. To this aim, firstly, Nietzsche’s doctrine of the will to power (...) is explained in detail. Next, in order to provide a deeper understanding of the doctrine, its relation with Darwinism and the claims which say that it is a metaphysical principle are analyzed. Afterwards, Nietzsche’s construction of the world as becoming out of will to power is investigated. Nietzsche’s conception of interpretation as power struggle and its role in perspectivism explained. Then, how Nietzsche’s construction of the world as becoming and his concept of interpretation as power struggle emerge as perspectivism is explained. After that, in order to present the differences between Nietzsche’s perspectivism and traditional understanding of epistemology, Nietzsche’s critiques of some of the fundamental assumptions of traditional epistemology, i.e., causality, logic, and subject-object and apparent-real world distinctions, are investigated. Finally, Nietzsche’s understanding of truth based on his perspectivism is inquired. Its relation with correspondence, pragmatic and coherence theories of truth is explored to show that Nietzsche’s understanding of truth could not be comprehended through these theories. Consequently, it isclaimed that the tendency to attribute a truth theory to Nietzsche’s perspectivism, which is prevalent in the current Nietzsche studies, stems from commentator’s, consciously or unconsciously, ignoring of the relation between his perspectivism and his doctrine of the will to power. (shrink)

Text and notebooks by Friedrich Nietzsche. -/- Translations: -/- 15 = U II 11 Spring 1876? [1-27] pages 13-19 16 = N II 1. 1876. [1-55] pages 20-29 17 = U II 5b. Summer 1876. [1-105] pages 30-48 18 = M I 1. September 1876. [1-62] pages 49-62 19 = U II 5c. October-December 1876. [1-120] pages 63-87 20 = Mp = XIV 1a (Brenner). Winter 1876-1877. [1-21] pages 88-94 21 = N II 3 End of 1876 - Summer 1877. (...) [1-84] pages 95-106 Nietzsche’s Notebooks in English: a Translator’s Introduction and Afterward pages 107-118 Also include two early essays: About Truth and lie in the extra-moral sense. ……………pages 119-128 About the pathos of truth. Christmas 1872. From: Five prefaces to five unwritten books…….………………..pages 129-133 . (shrink)

Symposium on Nietzsche's Constructivism (Routledge, 2018), replies to Adler, Cabrera, Doyle, Migotti, Sinhababu, Pedersen.

This is a précis of Nietzsche’s Constructivism: A Metaphysics of Material Objects (Routledge, 2017), for a forthcoming symposium on the book.

An exploration into the reciprocity between Nietzsche's drug use and his philosophy.

An evolutionary approach to ethics supports, to some extent, the sceptical meta-ethics found by some of the Greek sophists and Nietzsche. On the other hand, a modern naturalistic account on the origin and nature of morality, leads to somewhat different conclusions. This is demonstrated with an answer to three philosophical questions: does real freedom exist?, does the good, or real virtue, exist?, does life have a meaning?

This paper argues that Nietzsche is a panpsychist. Panpsychism holds that mental features are ubiquitous and fundamental in reality. I first argue that Nietzsche’s rejection of Cartesian dualism leads him to substance monism. To better understand his monism, I examine Nietzsche’s rejection of Newtonian atomism. Nietzsche holds that bundles of forces, or will to power, are more fundamental than hard, extended atoms. So, will to power is fundamental. I then investigate Nietzsche’s remarks on organic and inorganic nature to show that (...) he believes both are will to power. So, will to power is ubiquitous. The final step to panpsychism is to show that Nietzsche believes will to power exhibits mental qualities. If all goes well, it should emerge that Nietzsche thinks mental features are fundamental and ubiquitous in reality. (shrink)

The critique of Metaphysics and Morality occupies a central place in post-modern philosophy. The decline and decadence of absolute truths about the true nature of reality, was presented by radical changes in scientific progress. Nietzsche’s proclamation of the Death of God will be set as the starting point for the critique and personal reflection. Nietzsche’s new conception of man, breaks off from traditional understanding, inherited from the pre-Socratics. Nietzsche is not a post-modern philosopher who is against morality, but rather opposed (...) to the traditional way of moral evaluations, which have historically been based on different metaphysical models that presupposes a world replete of universal truths. This work deals with the proposition given on the impossibility of morals based on transcendental truths given a stronger version of Nietzsche‘s Will to Power and the implication of such findings on the most practical aspects of our daily lives and future moral evaluations. (shrink)

Nietzsche sometimes praises the drive to order—to simplify, organize, and draw clear boundaries—as expressive of a vital "classical" style, or an Apollonian artistic drive to calmly contemplate forms displaying "epic definiteness and clarity." But he also sometimes harshly criticizes order, as in the pathological dialectics or "logical schematism" that he associates paradigmatically with Socrates. I challenge a tradition that interprets Socratism as an especially one-sided expression of, or restricted form of attention to, the Apollonian: they are more radically disparate. Beyond (...) strengthening the case for this basic point, I develop a distinctive account of what, exactly, distinguishes the Apollonian-classical and Socratic forms of order. To this end, I advance interrelated interpretations of Apollonian-classical simplicity and the "cold" calm that it elicits, by contrast to superficially similar Socratic phenomena. This illuminates Nietzsche's broader ambivalence toward science, in part by clarifying the nature and value of an idealized Apollonian science. (shrink)

Deleuze does not mention Schopenhauer very frequently. Certainly Schopenhauer does not appear to be in the counter-canon of life-affirming philosophers that Deleuze so values – indeed, far from it. Nor does he appear to be even a favoured ‘enemy’ as he describes Kant, or as he sometimes appears to view Hegel. Nevertheless, I think Schopenhauer’s break from Kant is crucial for understanding not only Deleuze’s account of Nietzsche, but also for a proper grasp of the core Deleuzian distinction between the (...) actual and the virtual, at least in its guise as the distinction between desiring-production and social production in Anti-Oedipus. (shrink)

Many commentators have claimed that Nietzsche views the “sublimation” (Sublimierung) of drives as a positive achievement. Against this tradition, I argue that, on the dominant if not universal Nietzschean use of Sublimierung and its cognates, sublimation is just a broad psychological analogue of the traditional (al)chemical process: the “vaporization” of drives into a finer or lighter state, figuratively if not literally. This can yield ennobling elevation, or purity in a positive sense—the intensified “sublimate” of an unrefined original sample. But it (...) can also yield drives that are attenuated or otherworldly, in a pejorative sense. One (but only one) kind of Nietzschean sublimation is the “translation” of drives to “imaginative and spiritual” (Imaginative und Seelische) modes of expression. I con­clude that, despite certain appearances to the contrary, Nietzsche ultimately values basic drives’ powerful expression, without preferring either that this occur specifically as “higher culture” or as “savage” natural impulse. (shrink)

This book aims at six important conceptual tools developed by philosophers. The author develops each particular view in a chapter, hoping to constitute at the end a concise, interesting and easily readable whole. These concepts are: 1. Ethics and realism: elucidation of the distinction between understanding and explanation – the lighthouse type of normativity. 2. Leadership, antirealism and moral psychology – the lightning rod type of normativity. 3. Bright light on self-identity and positive reciprocity – the reciprocity type of normativity. (...) 4. The virtue of generosity and its importance for inclusive education – the divine will type of normativity. 5. Ethical education as normative philosophical perspective. The normativity of self-transformation in education. 6. Aesthetics as expression of human freedom and concern for the whole world in which we live. (shrink)

I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...) influenced by Kant’s claim that aesthetic pleasure is orthogonal to desire-satisfaction—becomes decoupled from his (further) Kantian view that aesthetic play essentially involves a harmony of sensuous receptivity and rational spontaneity. The result, I suggest, is a self-standing opposition between desires and passions. This motivates a recognizably Romantic vision of aesthetic disinterestedness, as freedom from desire realized in a state of creative determination by passion. (shrink)

Review of Tsarnia Doyle, Nietzsche's Metaphysics of the Will to Power: The Possibility of Value.

Nietzsche appears to adopt a radical Kantian view of objects called constructivism, which holds that the existence of all objects depends essentially on our practices. This essay provides a new reconstruction of Nietzsche's argument for constructivism and responds to five pressing objections to reading Nietzsche as a constructivist that have not been addressed by commentators defending constructivist interpretations of Nietzsche.

Despite his rejection of the metaphysical conception of freedom of the will, Nietzsche frequently makes positive use of the language of freedom, autonomy, self-mastery, self-overcoming, and creativity when describing his normative project of enhancing humanity through the promotion of its highest types. A number of interpreters have been misled by such language to conclude that Nietzsche accepts some version of compatibilism, holding a theory of natural causality that excludes metaphysical or “libertarian” freedom of the will, while endorsing morally substantial alternative (...) conceptions of freedom, autonomy, and responsibility. I argue to the contrary that although Nietzsche’s rejection of... (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)

Nietzsche was persistently concerned with what an object is and how different views of objects lead to different views of facts, causality, personhood, substance, truth, mathematics and logic, and even nihilism. Yet his treatment of objects is incredibly puzzling. In many passages he assumes that objects such as trees and leaves, tables and chairs, and dogs and cats are just ordinary entities of experience. In other places he reports that objects do not exist. Elsewhere he claims that objects exist, but (...) as mere bundles of forces. And sometimes he proposes that we bring all objects into existence. Nietzsche’s writings, then, appear to support various secondary readings, which are jointly inconsistent. My chief aim is to present and defend the reading that Nietzsche embraces constructivism about objects, the neo-Kantian view that all objects are socially constructed. I first explain this view and argue that all non-constructivist readings are not supported by Nietzsche’s texts. I then present Nietzsche’s object constructivism, reconstruct his argument for the position, and defend it from internal objections. I finish by suggesting that Nietzsche might have embraced such a radical conception of objects because it plays a crucial role in overcoming nihilism. (shrink)

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 (...) recurrence would bring joy to those who had achieved excellence in this life and crush those who had not. I point out, however, that this significance of recurrence must be spoiled by the consideration that within each of the long cycles of recurrence there would have to be, as well, countless variations of this life. And I consider the issue of personal identity within such recurrences. Is it the same person or merely resembling but distinct persons in the recurrences or the variations? If it is the same person in precise recurrences, should the subjectively identical experience be thought of as really additional for that person? (shrink)

Table of Contents: 1. The introduction of infinities 2. Gay Science 341, “The greatest weight”, considers infinite value 3. The argument of KSA 11:11:38[12] anticipates Poincaré’s theorem 4. “The Soothsayer” envisions the dark side of eternal recurrence 5. “On Redemption” tells of the will’s struggle with the past 6. “The Stillest Hour” struggles to speak of infinite negative value 7. “On The Vision and the Riddle” envisions the cosmology 8. “The Convalescent” has animals proclaiming recurrence 9. “The Other Dancing Song” (...) expresses love of life 10. “Once More” and “The Drunken Song” sing of infinities 11. “The Seven Seals” proposes marriage to Eternity 12. Part IV pits Zarathustra against the soothsayer 13. “The Ass Festival” celebrates worldly value. (shrink)

A deeply personal reckoning with family, mental illness, and suicide, Dana Trusso captures the meaning of Nietzsche's armor fati--to love one's fate--through her surreal imagery and longing to heal intergenerational wounds. Lines are drawn from Lars von Trier's Melancholia, Sonic Youth's Experimental Jet Set, Trash and No Star, and lines she read from her aunt's journals as a child. -/- The photo is a sculpture of an earth goddess by Jean-Philippe Richard located in the botanical gardens of Èze, France. Nearby (...) is Le Chemin de Nietzsche, a steep hike from the seaside to mountainous ruins that is said to have inspired Thus Spoke Zarathustra. (shrink)

Penrose's conformal cyclic cosmology describes the cosmos as a collection of successive universes, the so-called aeons. The beginning and ending of our universe are directly connected to two other, anterior and posterior, universes. Penrose considers but rules out a different interpretation of conformal cyclic cosmology: that the beginning of our universe is connected to its own end in a cosmic loop. The paper argues that the view, aeon monism, should be regarded as a natural interpretation of conformal cyclic cosmology and (...) discusses its implications for the concept of eternal return in light of the most popular metaphysics of time. (shrink)

The critique of Metaphysics and Morality occupies a central place in post-modern philosophy. The decline and decadence of absolute truths about the true nature of reality, was presented by radical changes in scientific progress. Nietzsche’s proclamation of the Death of God will be set as the starting point for the critique and personal reflection. Nietzsche’s new conception of man, breaks off from traditional understanding, inherited from the pre-Socratics. Nietzsche is not a post-modern philosopher who is against morality, but rather opposed (...) to the traditional way of moral evaluations, which have historically been based on different metaphysical models that presupposes a world replete of universal truths. This work deals with the proposition given on the impossibility of morals based on transcendental truths given a stronger version of Nietzsche‘s Will to Power and the implication of such findings on the most practical aspects of our daily lives and future moral evaluations. (shrink)

In contemporary scholarship, it is readily assumed that Nietzsche’s Eternal Recurrence either does or does not overcome the ‘problem of nihilism’. This exclusive disjunction, however, is false. It has arisen out of the poor exegesis that Eternal Recurrence is meant to overcome nihilism and, if it does not, then this can be considered a shortcoming of Nietzsche’s philosophic enterprise. But Eternal Recurrence only overcomes what you want it to: if you do not want to overcome nihilism but embrace it, then (...) Eternal Recurrence does not overcome nihilism, but this is in no way its failure. (shrink)

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. But if persons can live more than once, the probability that you would be alive now would be nonzero. Since you are alive now, with certainty, either the past is finite, or persons can live more than once.

Nietzsche's Ewige Wiederkunft; (Eternal Return), as a possible interpretation of 'The Third River Bank';, a poignant tale by the great Brazilian writer João Guimarães Rosa [1908-1967]. As such, this paper is a part of 'Genealogy of the Real. Nietzsche, Freud'; a Doctorate Dissertation at the Institute of Philosophy of the University of São Paulo (1993).

This essay represents a novel contribution to Nietzschean studies by combining an assessment of Friedrich Nietzsche’s challenging uses of “truth” and the “eternal return” with his insights drawn from Indian philosophies. Specifically, drawing on Martin Heidegger’s Nietzsche, I argue that Nietzsche’s critique of a static philosophy of being underpinning conceptual truth is best understood in line with the Theravada Buddhist critique of “self ” and “ego” as transitory. In conclusion, I find that Nietzsche’s “eternal return” can be understood as a (...) direct inversion of “nirvana”: Nietzsche celebrates profound attachment to each and every moment, independent from its pleasurable or distasteful registry. (shrink)

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.

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 (...) and present them in unity. Here, referring to Heraclitean, Kantian, Nietzschean and Heideggerian metaphysics and aesthetics, I propose that the principles of motion and transition be the new cosmologic-aesthetic categories for the judgment of sublime artworks as well as for the understanding of the world (Weltanschauung) they represent. (shrink)

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.

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)

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 (...) recurrence would bring joy to those who had achieved excellence in this life and crush those who had not. I point out, however, that this significance of recurrence must be spoiled by the consideration that within each of the long cycles of recurrence there would have to be, as well, countless variations of this life. And I consider the issue of personal identity within such recurrences. Is it the same person or merely resembling but distinct persons in the recurrences or the variations? If it is the same person in precise recurrences, should the subjectively identical experience be thought of as really additional for that person? (shrink)

(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 (...) is some evidence against the proposed interpretation of him as a nihilist. I defended the interpretation by arguing that Nietzsche’s declarations about creating values point to a practice of generating honest evaluative illusions. Such honest evaluative illusions are tricky things, though, and, precisely because they are honest, one might worry that they lack the motivational power of genuine evaluative belief. Can they truly play the role that evaluative beliefs play in our psychological economies? I suspect that Nietzsche does not want the honest illusions to play exactly the role that evaluative beliefs played. The cheerfulness, the playfulness, the lightness that Nietzsche hopes for are, I have suggested, a function of the shift from belief to pretence, from illusion to honest illusion. The question, nonetheless, is whether the resulting picture is too light. Can I go through life merely acting, as a critic might put it? My suggestion in this essay will be that the thought of eternal recurrence is meant to add weight to the lightness of acting—“acting”, obviously, in both the here relevant senses of the word. (shrink)

A tarefa que assumimos nesta dissertação foi colocar a pergunta: como as reflexões de Nietzsche sobre arte puderam, ao menos em parte, terem vindo a ser realizadas por meio de uma fisiologia da estética (cf. GM III 8; CW 7; NW, Objeções)? Antes de pretendermos esgotar o assunto, tentamos compreender a possibilidade de elaboração coerente desse problema ao longo do caminho de pensamento nietzschiano. Mas, para tanto, precisamos lidar com as variações de perspectiva próprias de uma filosofia que não se (...) pretende sistemática e assume suas tensões; e 1886 parece-nos ser um momento chave para vermos essas nuances, em particular no que diz respeito à arte. Naquele ano, Nietzsche escreveu novos prefácios para seus cinco livros publicados até então – O Nascimento da Tragédia (1872), Humano, demasiado humano I (1878) e II (1879-1880), Aurora (1881) e A Gaia Ciência (1882) –, buscando ressaltar o caráter unitário de sua obra, ou, como ele mesmo afirma em uma carta, apresentar a “história de um desenvolvimento”. E justamente a seu livro de estreia, ele adicionou um prefácio intitulado Tentativa de Autocrítica, no qual aponta para os aspectos que o inserem no todo de sua obra, mas, ao mesmo tempo, se distancia das concepções que ali configurariam uma “metafísica de artista”. Essa tensão é tratada no Capítulo I desta dissertação a partir de um contraste entre O Nascimento da Tragédia e a posterior Autocrítica. Após esse primeiro passo, procuramos mostrar no Capítulo II como, já em Humano, Nietzsche apresenta uma reorientação de sua estética, o que em Aurora e A Gaia Ciência se consolida com o enraizamento da moral, da filosofia e das artes na fisiologia, a qual argumentamos poder ser lida como logos da physis. No Capítulo III, indicamos como o ganho do âmbito fisiológico constitui o solo sobre o qual Nietzsche pensa o problema da inferência regressiva que o leva à sua distinção dos valores artísticos entre empobrecimento e abundância (cf. GC 370), que parece orientar sua fisiologia da estética. Por fim, discutimos como o exercício autocrítico nietzschiano e a inferência regressiva convergem em O Caso Wagner na antinomia entre os músicos Wagner e Bizet e na autoencenação nietzschiana como décadent que reconheceu sua doença, seu wagnerismo, e experimentou uma nova saúde. (shrink)

A filosofia mundana de Nietzsche. O título da presente tese sintetiza a concepção geral apresentada neste trabalho: o pensamento nietzschiano, em suas distintas facetas, é marcado por uma orientação ao mundo, o que dizemos em um duplo sentido. Em primeiro lugar, a filosofia de Nietzsche visa dar uma nova dignidade àquilo que compõe o enraizamento mundano do ser humano: sua existência transitória e errática, sua naturalidade, sua animalidade, seu corpo. Em segundo, o voltar-se ao mundo de seu pensamento aparece também (...) na relação do filósofo com sua época, reconhecendo-se como “filho” e “má consciência” dela a partir de um diálogo profundo – constituído por aproximações e distanciamentos – com o ambiente cultural e intelectual em que está imerso. Nossa hipótese é que na elaboração dessa filosofia mundana um aspecto é particularmente relevante: o estabelecimento de entrelaçamentos fisiológico-estéticos em momentos cruciais de sua obra, responsáveis por desenhar uma postura antimetafísica – com contraposições que pendulam entre tentativas de equiparação (de oferecer uma ontologia alternativa) e de superação da tradição metafísica. Nos três capítulos que conformam este trabalho, tal hipótese será desenvolvida indicando-se como tais entrelaçamentos participam na composição de sua metafísica de artista, de seu filosofar histórico e, por fim, da hipótese da vontade de poder e da autoencenação que marcam os últimos passos de seu caminho de pensamento. Portanto, o propósito desta tese é argumentar que, apesar dos desvios e nuances que integram o percurso nietzschiano, é possível identificar-se um motivo e postura contínua que delineiam uma filosofia mundana. (shrink)

Nietzsche apresenta, no decorrer de sua obra, um persistente interesse pelo problema da linguagem, abordando sua origem terrena e sua dimensão demasiado humana, sua ligação ao âmbito instintivo de uma espécie animal e seu caráter artificial e plástico. O objetivo deste artigo é sugerir que tal tema relaciona-se à tentativa nietzschiana de superação da metafísica, em duas frentes. Negativamente, no reconhecimento dos limites da linguagem e da influência de certas seduções gramaticais em nossas concepções do que seria a estrutura fundamental (...) do mundo. Positivamente, na elaboração de uma sintomatologia e de sua arte do estilo, elementos importantes de sua crítica da cultura e postura filosófica. Pretendemos, assim, indicar que a tematização e uso nietzschiano da linguagem possui papel central na elaboração de sua tarefa filosófica de intervenção cultural. (shrink)

The critique of Metaphysics and Morality occupies a central place in post-modern philosophy. The decline and decadence of absolute truths about the true nature of reality, was presented by radical changes in scientific progress. Nietzsche’s proclamation of the Death of God will be set as the starting point for the critique and personal reflection. Nietzsche’s new conception of man, breaks off from traditional understanding, inherited from the pre-Socratics. Nietzsche is not a post-modern philosopher who is against morality, but rather opposed (...) to the traditional way of moral evaluations, which have historically been based on different metaphysical models that presupposes a world replete of universal truths. This work deals with the proposition given on the impossibility of morals based on transcendental truths given a stronger version of Nietzsche‘s Will to Power and the implication of such findings on the most practical aspects of our daily lives and future moral evaluations. (shrink)

Philosophers before Friedrich Nietzsche are more interested in reality than in appearance; they tend to believe that we can access the ultimate truth through hard work, which will set us free. However, in his book, The Gay Science, Nietzsche criticizes this aim of science, or metaphysics. While it has been argued that Nietzsche denies the distinction between perceivable appearances and a concealed, underlying reality, in this paper, I will argue that such a distinction is consistent with Nietzsche’s project and contributes (...) to his perspectivism. (shrink)

O último livro escrito por Nietzsche, Ecce homo: como alguém se torna o que se é, é uma de suas obras mais controversas, tendo sido tomada como sinal de prepotência, como autoexposição egocêntrica e como prenúncio do colapso que interrompeu sua trajetória intelectual em janeiro de 1889. As controvérsias foram alimentadas, em parte, pela peculiar narrativa encontrada no livro – ele conta a si sua vida e obra em tom elogioso e hiperbólico –, em parte, pelo fato de que a (...) tardia publicação de Ecce homo, ocorrida apenas em 1908, favoreceu o contraste com o apócrifo A vontade de poder – reunião de anotações publicada em 1901 como ‘obra principal’ de Nietzsche. Nosso propósito neste artigo é refletir sobre as possíveis contribuições do teor ‘autobiográfico’ e ‘autocrítico’ de Ecce homo para o caminho de pensamento do filósofo alemão. Nossa hipótese é que a narrativa experimentada no livro possui uma íntima relação com temas precedentes da obra nietzschiana e com a tarefa da transvaloração de todos os valores. Por meio de uma autoencenação, da colocação de um certo ‘Nietzsche’ em cena, o filósofo avança em sua crítica à metafísica – e à sua versão popular, a moral cristã – enquanto realça a mundanidade de sua perspectiva, seu caráter contingente e seu condicionamento pelas “pequenas coisas”, decisão que nos parece carregar uma relevante dimensão filosófica: Nietzsche assume a parcialidade e explicita o interesse envolvido em sua tomada de posição no seio da cultura. (shrink)

Perhaps the most fundamental disagreement concerning Nietzsche's view of metaphysics is that some commentators believe Nietzsche has a positive, systematic metaphysical project, and others deny this. Those who deny it hold that Nietzsche believes metaphysics has a special problem, that is, a distinctively problematic feature that distinguishes metaphysics from other areas of philosophy. In this paper, I investigate important features of Nietzsche's metametaphysics in order to argue that Nietzsche does not, in fact, think metaphysics has a special problem. The result (...) is that, against a long-standing view held in the literature, we should be reading Nietzsche as a metaphysician. (shrink)

Deleuze does not mention Schopenhauer very frequently. Certainly Schopenhauer does not appear to be in the counter-canon of life-affirming philosophers that Deleuze so values – indeed, far from it. Nor does he appear to be even a favoured ‘enemy’ as he describes Kant, or as he sometimes appears to view Hegel. Nevertheless, I think Schopenhauer’s break from Kant is crucial for understanding not only Deleuze’s account of Nietzsche, but also for a proper grasp of the core Deleuzian distinction between the (...) actual and the virtual, at least in its guise as the distinction between desiring-production and social production in Anti-Oedipus. (shrink)

Review of Marco Brusotti & Herman Siemens (eds.), Nietzsche’s Engagements with Kant and the Kantian Legacy, Volume I: Nietzsche, Kant, and the Problem of Metaphysics. London: Bloomsbury, 2017. xix + 298 pp. ISBN: 978-1-4742-7477-7. Hardcover, $114.00 (volume); $256.00 (collection).

In this paper, I first suggest that Nietzsche and James, two otherwise very different thinkers, both endorse the controversial constructivist view that human representational practices bring all material objects into existence. I then explore their views concerning why and how constructivism can play a vital role in helping us find reality and our lives valuable.