Nietzsche talks about trust [vertraue*] and mistrust [misstrau*] in all of his published and authorized works, from The Birth of Tragedy to Ecce Homo. He refers to trust in 90 passages and mistrust in 101 – approximately ten times as often as he refers to resentment/ressentiment. Yet the scholarly literature on Nietzsche and trust includes just a handful of publications. Worse still, I have been unable to find a single publication devoted to Nietzsche and mistrust. This chapter aims to fill (...) the gap in the secondary literature by using digital humanities methods to systematically investigate the functions of trust and mistrust in Nietzsche’s writings. I argue that Nietzsche offers three main insights into trust and an additional two into mistrust. When it comes to trust, in his free spirit works, he reflects on the development of interpersonal trust, with an eye to situations in which trust is or is not reciprocated. He also criticizes some of the heuristics people use to identify trustworthy partners, especially the notion that all and only people with stable character are trustworthy. And perhaps Nietzsche’s most interesting thoughts about trust relate to self-trust, which he thinks is often unjustifiably undermined. When it comes to mistrust, although he regards generalized mistrust as a sign of bad character, he also thinks that harnessing mistrust can be valuable in at least two domains. One is morality, where we are disposed to accept traditional pieties and would benefit from turning a suspicious eye towards these pieties. The other is science, which systematizes both trust and mistrust in pursuit of the truth. (shrink)

Nietzsche talks about shame [scham*, schmach*, schand*] in all of his published and authorized works, from The Birth of Tragedy to Ecce Homo. He refers to shame in over one hundred passages – at least five times as often as he refers to resentment/ressentiment. Yet the scholarly literature on Nietzsche and shame includes just a handful of publications, while the literature on Nietzsche and resentment includes over a thousand. Arguably, this disproportionate engagement has been driven by the fact that English (...) translations of Nietzsche’s writings systematically italicize and transliterate ‘ressentiment’ rather than treating it as the normal word it is. In any case, this chapter aims to fill the gap in the secondary literature by using digital humanities methods to systematically investigate the functions of shame in Nietzsche’s writings. I argue that Nietzsche is ambivalent about shame, depending on the function that it serves. There are four main functions. First, in a society of near-equals, it regulates interactions and incentives in ways that preserve game-theoretic equilibria. Second and relatedly, Nietzsche associates the capacity to experience nuanced and appropriate feelings of shame – and to anticipate them in others – with the pathos of distance, a virtue that he associates with nobility. Third, when shame is directed towards fixed aspects of human nature, it transforms those aspects into vices; by contrast, when it is directed towards malleable aspects of human nature, it may foster self-improvement and virtue. Nietzsche frequently laments the way that shame targets immutable aspects of ourselves. Finally and relatedly, Nietzsche casts counter-shame on those who would direct first-order shame on fixed aspects of human nature, as well as a paradoxical form of uplifting shame on their victims. If this is right, then Nietzsche does not offer a univocal verdict on shame. Instead, like many other emotions and emotional capacities, shame is inescapable, complex, and function-relative. (shrink)

In this paper, I provide an interpretation of the American mockumentary-styled sitcom, The Office (2005– 2013), as an instance of what Nietzsche calls an “aesthetic justification” of life. The Office offers an aesthetic justification of the life of lower-tiered North American white-collar workers under neoliberalism. The Office performs this function via an implicit endorsement of what Mark Fisher (2009) calls capitalist realism, or the idea that “it’s easier to imagine the end of the world than the end of capitalism.” I (...) focus on an illuminating scene in episode 16 of Season 3, “Business School” (2007), that exemplifies this especially well. The argu- ment is that The Office orchestrates an aesthetic justification of those aspects of our existence that cannot be justified morally under capitalism, for example, precarity, ruthless competition, and so on. In Section I, I out- line Nietzsche’s conception of aesthetic justification. In Section II, I discuss the major themes of The Office, highlighting their resonance with the concerns and experiences of the workforce. In Section III, I bring these together in a Nietzschean analysis of the “Business School” scene. Finally, in Section IV, I close by offering some open-ended but critical reflections on this analysis via Adorno and the Frankfurt School. (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)