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)

Among Western philosophers, Schopenhauer is one of the few who seeks to clarify the nature of music, and its effects upon us. He claims that music is the most important of all the arts; and he argues that music is a kind of metaphysics that allows us to experience the ultimate reality of the world. In this essay, I evaluate Schopenhauer’s philosophy of music in the context of his overarching philosophy. Then I discuss the relevance of traditional Indian philosophies -- (...) including Advaita Vedanta and Buddhism -- which Schopenhauer recognized as forerunners to his own philosophical system. Here, the discussion of Om is particularly important. Schopenhauer’s discussion of music is insightful. But his insistence on the priority of the will is problematic. I suggest another perspective on willing, ultimate reality and music which follows the classical Indian philosophies that he affirms. (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)

Moral theories, such as the variations on virtue ethics, deontological ethics, contractualism, and consequentialism, are expected – inter alia – to explain the basic orientation of morality, give us principles and directives, justify those, and thereby guide our actions. I examine some functions and characteristics of the extant moral theories from a moral metatheoretical point of view, in order to clarify the generally assumed rivalry between them. By thinking of moral theories in analogy to languages it is argued that different (...) moral theories are neither simply competing nor simply complementary; their respective orientations justify using them, in virtue of the problems they help to solve. But even if considerations about the functionality of a theory and the context in which it is created play an important role, they can neither be sufficient to determine these theories’ relations to one other nor for choosing between them. The challenge is to set criteria for the quality of a moral theory on a moral metatheoretical level and, in particular, to make room for future views on morality. (shrink)

he relationship between decadence and aesthetics is an intimate and complex one. Both the stock figure of the aesthete and the aestheticism of ‘art for art’s sake’ are classic decadent tropes with obvious sources in figures such as Théophile Gautier, Walter Pater, Joris-Karl Huysmans. Yet the links between aesthetics and decadence are more conflicted than might first appear: historically, aesthetics has served both as a site for the theorisation of decadence and as the basis of an attempt to stem it. (...) The purpose of this chapter is to examine these intricate ties. (shrink)

Writing in 1935 as "Hugo Fiala," Karl Löwith not only connected Martin Heidegger and Carl Schmitt to an apparently contentless "decisionism" but drew attention to the fact that his correspondent Leo Strauss had attacked Schmitt—like Heidegger an open Nazi since 1933— from the Right in 1932. In opposition to the views of Peter Eli Gordon, Heidegger's bellicose stance at the Davos Hochschule of 1929 is presented as "political" in Schmitt's sense of the term while Strauss's embrace of Heidegger, never regretted, (...) showed that he ceased to be Nietzsche's "Good European" in his thirtieth year. A more significant "change of orientation" is revealed in Strauss's 1932 version of the "second cave," a pseudo-Platonic image of Verjudung . Revelation had disrupted a nihilistic "natural ignorance" that could only be reversed by an elite's secret decision for a self-contradictory content: only an atheistic religion provides a post-liberal solution to "the theological-political problem.". (shrink)

Nietzsche's harsh attacks on modernity suggest a problem: if the modern age is so diseased, can we overcome it and move on to something higher? Or is the disease too severe? I examine the question by studying Nietzsche's view of spiritual health. Spiritual illness, even in the highest man, is nothing unusual or necessarily debilitating. Even the strongest have been infected since the earliest days of civilization. Indeed, infection with slave morality and bad conscience are requirements for spiritual elevation. And (...) the disease serves life by giving the strong something to struggle against, as well as making possible the spiritual greatness required to revalue all values. The higher man, then, is a mixture of health and disease. The revaluation of values is extraordinarily dangerous, but not impossible. Key Words: great politics • Nietzsche's revaluation of all values • On the Genealogy of Morals • spiritual health. (shrink)

Metaphilosophy, Volume 53, Issue 1, Page 3-16, January 2022.

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)

(2006). Is John Gray a Nihilist? Critical Review of International Social and Political Philosophy: Vol. 9, The Political Theory of John Gray, pp. 305-322.

_Psychoanalysis Beyond the End of Metaphysics_ offers a new paradigm approach which advocates reengaging the importance of metaphysics in psychoanalytic theorizing. The emergence of the relational trend has witnessed a revitalizing influx of new ideas, reflecting a fundamental commitment to the principle of dialogue. However, the transition towards a more pluralistic discourse remains a work in progress, and those schools of thought not directly associated with the relational shift continue to play only a marginal role. In this book, Robin S. (...) Brown argues that for contemporary psychoanalysis to more adequately reflect a clinical ethos of pluralism, the field must examine the extent to which a theoretical commitment to the notion of relationship can grow restrictive. Suggesting that in the very effort to negotiate theoretical biases, psychoanalytic practice may occlude a more adequate recognition of its own evolving assumptions, Brown proposes that the profession’s advance requires a return to first principles. Arguing for the fundamental role played by faith in supporting the emergence of consciousness, this work situates itself at the crossroads of relational, Jungian, and transpersonal approaches to the psyche. Psychoanalysis Beyond the End of Metaphysics will be of significant interest to all psychodynamically oriented clinicians, alongside scholars of depth psychology and the philosophy of mind. It will also be helpful to advanced and postgraduate students of psychoanalysis seeking to orient themselves in the field at present. (shrink)

_The usual approach in Buddhist-Western writings uses Buddhist perspectives to help answer Western philosophical-psychological questions. This paper reverses the process and uses the Western philosophical perspective of Nietzsche to answer questions of Buddhist-conceived nirvana. Nietzsche's philosophy of will, expounded primarily through the Zarathustra essays, provides an active and affirmative alternative for understanding and attaining nirvana. His ideas of free will and will to power have commonalities with Buddhist practice and thought, including nonattachment, nihilism, no-self, and meditation. Nietzschean will revises the (...) Buddhist notion of right effort to answer questions about coping with inner suffering and outer-world corruption. It shows nirvana to be less a state of passive being and more a state of active becoming. Why approach such important matters as transcendence, power, and God from the standpoint of the 'I'? First, I-centered analysis can clarify egological concepts such as the subject-I, object-self, and conceptualizing-ego and what these concepts contribute to an experience-based metaphysics, for even the most objective factual or mathematical expression must be stated and understood by an active subject-I. Second, I-centered analysis can advance the phenomenological study of the role of the I in the subjective realms of mind. Third, it can help resolve issues in both Western and Buddhist philosophy such as activism-passivism, subjectivity-objectivity, will and freedom, I and other, and secular/sacred presence in consciousness_. (shrink)

ABSTRACTThis essay explores D’Annunzio’s reception of Nietzsche—particularly his sociopolitical theory and idea of the Übermensch—as dramatized in his novel Le Vergini delle rocce. D’Annunzio’s attitude towards Nietzsche was complicated and contradictory, varying from fascination and rivalry to rejection and negation: rather than a philosopher or master, he saw Nietzsche as a poet and soulmate. Like many writers and artists of fin-de-siècle Europe, D’Annunzio too was attracted by Nietzsche’s elitist social theory and Übermensch, of which he presents his own version especially (...) in Maidens of the Rocks. In the novel, the young aristocrat Claudio Cantelmo aspires to overcome himself. However, the fact that Cantelmo fails to achieve his dream of fathering a New King of Rome, reveals D’Annunzio’s deep skepticism about contemporary Italy as well as his own “decadent” soul. (shrink)

Patricia White (Stud Philos Educ 18:43–52, 1999) argues that the virtue gratitude is essential to a flourishing democracy because it helps foster universal and reciprocal amity between citizens. Citizens who participate in this reciprocal relationship ought to be encouraged to recognize that “much that people do does in fact help to make communal civic life less brutish, pleasanter and more flourishing.” This is the case even when the majority of citizens do not intentionally seek to make civic life better for (...) others. Were citizens to recognize the appropriateness of gratitude in these situations, the bonds of our democratic communities would be strengthened. In this paper, I examine White’s argument more carefully, arguing that it fails to address adequately the difficulties that arise when we attempt to encourage the virtue of gratitude in our students. To address these difficulties, I turn to an unlikely source for democratic inspiration: Friedrich Nietzsche. In spite of his well-known anti-democratic sentiments, Nietzsche offers democratic citizens insights into the social value of gratitude. I argue that Nietzsche’s ideas resolve the educational difficulties in White’s argument and viably establish gratitude as an important democratic virtue that ought to be cultivated. (shrink)

This article draws on the profound affinities between the thought of Levinas and Nietzsche to argue that aesthetics plays a major role in Levinas's ethical philosophy. As in the case of Nietzsche, who called himself “the first tragic philosopher,” aesthetics gives reference to the tragic, yet affirmative content of Levinas's ethics. For both, what Levinas calls the “alterity,” or otherness, of art and literature is located not in an ontological or conceptual “beyond”—in a “spiritual” dimension “which sets itself up as (...) knowledge of the absolute”—but in the “interstices” of language, in the “between times” (entretemps) of its modes of temporality: which can only be accessed by way of “the tragic” in art. Alterity signifies not a privileged, interpersonal dimension freed from the problematics of modernity, but points to the complicity between the West's concept of rationality and its history of barbarism exemplified by the Holocaust. The artwork for Levinas is at once temporally diachronic and spatially diasporic, a region of im powerment that is precisely lacking in the expressive or imaginative em powerment normally attributed to the artwork, but which demonstrates a utopian, emancipatory potential in revealing the fissures and hidden pathways that run through the hegemonic structures and totalizing frameworks of modernity. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express are (...) ‘mock thoughts’. The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model states of affairs whereas works of art are objects we perceive sub specie aeternitatis. By the early 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful or ‘good’ works of art, in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’. (shrink)

Mozart's great opera, Don Giovanni, poses a number of significant philosophical and aesthetic challenges, and yet it remains, for the most part, little discussed by contemporary philosophers. A notable exception to this is Bernard Williams's important paper, ‘Don Juan as an Idea’, which contains an illuminating discussion of Kierkegaard's ground-breaking interpretation of the opera, ‘The Immediate Erotic Stages or the Musical-Erotic’, in Either/Or. Kierkegaard's pseudonymous author's approach here is, in some respects, reminiscent of a currently rather fashionable narrative-inspired moral philosophy, (...) of which Williams himself is perhaps the most impressive recent exponent. In the light of this apparent methodological confluence, Williams's disagreement with A about the meaning of Don Giovanni's final two scenes seems particularly significant. By offering an interpretation of Don Giovanni that both retains A's fundamental ideas and manages to get round the problems in Williams's account, I will show that the greatness of Mozart's opera is largely a function of the challenge it presents to the ‘morality system’. (shrink)

ABSTRACT Bernard Yack’s Longing for Total Revolution asserts that a prominent tradition of modern moral and political theory is founded on the binary opposition between nature and culture. Yack rejects this dichotomy in favor of an Aristotelean outlook, and in so doing embraces the opposition between the ancients and the moderns. Neither binary is as oppositional as Yack suggests. There is, however, a more viable distinction to be made between the ancients and the moderns—concerning the role played by teleology—and it (...) better serves the purpose of mapping the historical trajectory of moral and political theorizing. Teleology does not survive modernity, and it is this development that was truly revolutionary. (shrink)

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 thesis interrogates Nietzsche's ubermensch, a figure capable of overcoming the universal absence of value, and asks how it might logically be realised in light of postmodern developments in nihilism, capitalism and technology. We argue that in order to exist beyond the nihilistic nature of capitalism, one possible solution might be superintelligent artificial intelligence. We first explore the oft-overlooked problem of the village atheist, who rejects god whilst still clinging to theological values. We next look to nihilism in postmodemity, analysing (...) semiotic and hermeneutic developments and highlighting the forces that dictate contemporary society. We then tum to capitalism, understood as a repetition of Christianity, redefining the village atheist as a figure trapped in the nihilism of semiocapitalism. Finally, we tum to technology and the future, where we reject transhuman narratives as farther repetitions of salvation, instead developing an understanding of superintelligent AI as ubermensch based on its potential to exist beyond the trappings of manmade value. This thesis simultaneously outlines the difficulties of overcoming nihilism through transhumanism whilst highlighting the dangers of embracing ubermensch, instead suggesting that a reclamation of the human posits greater grounds for survival, where the embrace of a hermeneutics of nihilism allows for smaller short-term truths. (shrink)