Is the idea of the voluntary important? Those who think so tend to regard it as an idea that can be metaphysically deepened through a theory about voluntary action, while those who think it a superficial idea that cannot coherently be deepened tend to neglect it as unimportant. Parting company with both camps, I argue that the idea of the voluntary is at once important and superficial—it is an essentially superficial notion that performs important functions, but can only perform them (...) if we refrain from deepening it. After elaborating the contrast between superficial and deepened ideas of the voluntary, I identify the important functions that the superficial idea performs in relation to demands for fairness and freedom. I then suggest that theories trying to deepen the idea exemplify a problematic moralization of psychology—they warp psychological ideas to ensure that moral demands can be met. I offer a three-tier model of the problematic dynamics this creates, and show why the pressure to deepen the idea should be resisted. On this basis, I take stock of what an idea of the voluntary worth having should look like, and what residual tensions with moral ideas this leaves us with. (shrink)

De moderne filosofie lijdt aan muziekvergetelheid. Opvallend is echter dat filosofen, wanneer ze toch aandacht schenken aan muziek, hun aandacht bij voorkeur op één bepaald genre richten, namelijk de opera. Filosofen zoals Søren Kierkegaard en Friedrich Nietzsche lieten hun gedachten over Don Giovanni, Parsifal en Carmen gaan, terwijl omgekeerd de filosofie van Arthur Schopenhauer de opera heeft beïnvloed via Wagner. Diens werk lijkt zich op het snijpunt van het grensverkeer tussen moderne filosofie en moderne muziek te bevinden. Het was zijn (...) ambitie de menselijke existentie en de menselijke geschiedenis in één panoramisch oeuvre te vatten, vanaf het primordiale begin tot en met de dramatische finale die ophanden leek: een catastrofale apotheose die een geheel nieuwe toekomst mogelijk zou maken. Dat is althans de verhaallijn van zijn meesterwerk Der Ring des Nibelungen. Aan het slot van Götterdämmerung lijkt zich een algehele verwoesting te hebben voltrokken: ‘Everything is destroyed and there is an enigmatic kind of hovering over the scene of destruction’ (Badiou 2010, p. 106), een ambivalente stemming van hoop en destructie zette Wagner op muziek. Voor Wagner is dan ook een hoofdrol in deze studie weggelegd: voor zijn muziektheoretische geschriften (waarin hij over een ‘muziek van de toekomst’ filosofeerde), maar meer nog voor de muzikale totaalkunstwerken die hij daadwerkelijk componeerde. (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)

Far from being indiscriminately critical of the ideas he associated with the morality system, Bernard Williams offered vindicatory explanations of its crucial building blocks, such as the moral/non-moral distinction, the idea of obligation, the voluntary/involuntary distinction, and the practice of blame. The rationale for these concessive moves, I argue, is that understanding what these ideas do for us when they are not in the service of the system is just as important to leading us out of the system as the (...) critique of that system. I then show how regarding the aspiration to shelter life from luck as the system’s organizing ambition explains why the system elaborates and combines these building blocks in the way it does. Finally, I argue that the ultimate problem with the resulting construction is its frictionless purity. It robs valuable concepts of their grip on the world we live in, and, by insisting on purity from contingency, threatens to issue in nihilism about value and scepticism about agency. (shrink)

Recent decades have witnessed a flurry of interest in Nietzsche's metaethics — his views, if any, on metaphysical, epistemological, semantic, and psychological issues about normativity and normative language and judgment. Various authors have highlighted a tension between Nietzsche's metaethical views about value and his ardent endorsement of a particular evaluative perspective: Although Nietzsche makes apparently "antirealist" claims to the effect that there are no evaluative facts, he vehemently engages in evaluative discourse and enjoins the "free spirits" to create values. Nearly (...) every major type of metaethical "-ism" has been ascribed to Nietzsche in response. This chapter provides a critical introduction to Nietzsche's metaethics, focusing on matters concerning the nature and grounds of normativity. I begin by examining and raising challenges for Nadeem Hussain's prominent interpretation of Nietzsche as a revolutionary fictionalist. I argue that a constructivist interpretation (developed elsewhere) provides an improved account of the connections, for Nietzsche, between evaluative attitudes and the nature of value, and among practical nihilism, art, and value creation. Values, on this view, are treated as grounded purely in facts about creatures’ evaluative attitudes. The chapter concludes by considering several alternative subjectivist, constitutivist, and non-cognitivist interpretations. A nuanced understanding of the space of metaethical theories brings into relief a plausible normative and metanormative view that we can attribute to Nietzsche. (shrink)

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)

Nietzsche’s Eternal Return (ER) is interpreted in many ways, including by him. I present it as a hermeneutic device, a way of reading texts, especially those whose influence threatens one’s authorial autonomy and/or are later difficult to take ownership of due to philosophical growth. It returns past texts with new interpretations, similar to the way ER leads one to embrace one’s past without changing anything, which radically changes everything from a resented painful burden into a celebrated enhancement of freedom and (...) power. I show how he could have derived the idea from Schopenhauer, his own embarrassing past, by performing the technique on Schopenhauer. The same attitude toward past texts of recreating them according to one’s present interests and concerns simultaneously releases one’s present texts for future readers to impose their readings onto them, just as Zarathustra tells his followers not to follow him. Heidegger takes the idea up in a far more nuanced account than he is usually given credit for and applies it, among other places, to the history of philosophy. All philosophers say the same as it keeps returning. Derrida then recreates this as iterability, the deconstruction of the no/change dichotomy that Nietzsche began. (shrink)

After examining the problem that gratuitous suffering poses for Nietzsche's notion of life affirmation, I mount a skeptical response to this problem on Nietzsche's behalf. I then consider an orthogonal objection to Nietzschean life affirmation, which argues that the need to justify life is symptomatic of life denial and show how strengthening the skeptical defense sidesteps this worry. Nietzsche's skepticism about our all‐too‐human, epistemic position thus aids his project of life affirmation in two ways. First, it suggests that we are (...) unable to determine reliably whether a given instance of suffering is, in fact, gratuitous. Second, it provides a corrective to the moralistic need to redeem life, showing that all attempts to justify life as a whole are epistemically fraught. Before concluding, I examine Nietzsche's reasons for advancing such an epistemological argument and suggest how we might approach life affirmation in nonrational terms. (shrink)

The Übermensch, the overcoming of man, is one of Nietzsche’s debated concepts to be situated in posthumanism. In Žižek’s posthumanism, the human as subject can not only be read in Nietzsche’s understanding of the last man, but is inherently tied to the concept of trauma. This is so that trauma, as I exposed before, is a crucial element in advancing a posthuman. This article argues that trauma is, tout court, not enough to realize a posthuman Übermensch. It faces paradoxes that (...) render it a transitory jolt. First, trauma still relies on the fiction of an afterworld. Second, trauma can be further traumatized and that there is a transitoriness of choice that belies its function between dream and fiction. Later, following from the traumatic standpoint of the Real, I provide a clarificatory corollary why the posthuman project also cannot work as a Lacanian fantasy. (shrink)

This article was first published in City, Territory and Architecture, volume 5, Article number : 4 under the terms of the Creative Commons Attribution 4.0 International License. We thank the authors for the permission to republish it here.: The recent, rich scholarship on rhythms, following in the wake of Lefebvre's book Éléments de rythmanalyse, proves that rhythmanalysis is an important sensitising notion and research technique. Despite its increasing recognition, - Urbanisme – Nouvel article.

The aim of this thesis is to provide a systematic account of Nietzsche’s philosophy of value by examining his exemplars. It will be argued that these exemplars represent his favoured evaluative practices and therefore illustrate what I will call his evaluative ideals. The thesis will be structured in three chapters, each examining a different exemplar that emerges from a particular period of Nietzsche’s work. Proceeding in this way will allow me to examine what I take to be three strands of (...) his philosophy of value; the critical ideal through the exemplar of the Free Spirit, the ethical ideal through Zarathustra, and the meta-ethical ideal through the exemplar of the Future Philosopher. These standpoints, it will be claimed, reflect Nietzsche’s central insights about what we should value and the way in which we should value, and are in this sense his evaluative ideals. Moreover, in doing so I will also attempt to provide some key insights on Nietzsche’s reasons for his evaluative preferences, as given through these exemplars as evaluative ideals. (shrink)

This essay is an interpretation of Nietzsche’s enigmatic idea of the Eternal Return of the Same in the context of his life rather than of his philosophy. Nietzsche never explained his ‘abysmal thought’ and referred to it directly only in a few passages of his published writings, but numerous interpretations have been made in secondary literature. None of these, however, has examined the significance of this thought for Nietzsche, the man. The idea belongs to a moment of ecstasy which Nietzsche (...) experienced during the summer of 1881 in Sils-Maria, in the Swiss Alps. Like Dante, in ‘the middle of life’, he walked down the wooded Alpine slope and entered his own Inferno. On the anniversary of long-buried loss and pain, his psyche was temporarily flooded by archetypal imagery. This event is interpreted in the light of Freud’s theory of repetition compulsion, the uncanny, and the oedipal confrontation with the unconscious. From the turbulent and frightful experience, a symbol of transfiguration emerged in the shape of Eternal Return. Its likeness to Mandala, a Jungian archetype of wholeness and the self, is striking. In the years that followed, Nietzsche produced his greatest works that assured him an unassailable place in Western philosophy. And yet, there was something disturbing about this dream-thought, and Nietzsche shuddered at any mention of the thought. Linking it with the head of Medusa in his unpublished notes, he hinted at its petrifying quality. The beguiling beauty of Medusa makes her an ambiguous symbol of exhilaration, as well as terror. Under her captivating gaze, a hero’s journey towards selfhood becomes a journey into the night of madness. (shrink)

This article is concerned with what Nietzsche claims about particular kinds of suffering that can emerge in encounters with others. I maintain that, even taking into account statements of Nietzsche’s that contradict or modify his language of solitude, hardness and domination, his acknowledgement of the capacity of witnessing others’ suffering to cause pain does not indicate an intersubjective notion of self-affirmation, but is an instance of a tension he identifies between our inescapable implication in social ways of being, and our (...) need to create ourselves independently to overcome self-alienation. I argue that Nietzsche’s claims about pity are a particular instance of this tension – that is, that while he recognizes that we feel pity, he treats this as an unfortunate affect to be overcome, to be appropriated on an individual basis, rather than as an invitation to be authentically with others – as indicating the possibility of a mutual project of self-affirmation. (shrink)

Este ensayo propone una hipótesis: que el modelo de Sujeto “educable” y “moral” que expone José Enrique Rodó en su Ariel puede corresponderse con el ideal de mousikós (??st?ó?), término griego que, según ciertas acepciones, se traduce por “culto” o “cultivado”, y que designaba a las personas eruditas.