Nietzsche: Will to Power

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

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.

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)