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Despite the criticisms that Levinas addresses to Nietzsche throughout his writing, he also praises Nietzsche’s legacy. In Humanism of the Other, he indicates how the Nietzschean man is “‘reducing’ being, […] undoing by the non-saying of dance and laughter […] the worlds that weave the aphoristic verb that demolishes them; retiring from the time of aging […] by the thought of the eternal recurrence”. Interpreting Nietzsche’s ambiguous thought of the eternal recurrence as a source of youth, Levinas brings to light (...) |
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Gilles Deleuze demonstrated the key role of flashback in dealing with the relationship between actual image and recollection-image when interpreting the temporality of images. He established two criteria for judging whether a flashback implies a recollection-image by stating that: (1) it serves as some kind of prompt in the narrative to make the viewer perceive that the scene has entered a flashback; (2) it relies on fate or forking time. But Deleuze also mentioned that, if the context or condition disappears, (...) |
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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” (...) |
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Largamente desatendida o malinterpretada, la noción de caos en la filosofía de Nietzsche es una pieza constitutiva de la particular concepción del ser que este autor habría dejado apenas esbozada. El artículo se propone elaborar este concepto en la obra nietzscheana, siguiendo algunas de las metáforas que lo iluminan (las estrellas,el texto y el mundo). Desde allí se busca plantear los rasgos centrales de una ontología del caos, de sesgo no metafísico, que, al afirmar el carácter acontecimental de larealidad, puede (...) |
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On what grounds could life be made worth living given its abundant suffering? Friedrich Nietzsche was one among many who attempted to answer this question. This book attempts to disentangle Nietzsche's various critiques of pessimism, elucidating how familiar Nietzschean themes ought to be assessed against this philosophical backdrop. |
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This text has already been published, in La Deleuziana – online journal of philosophy – n. 10 / 2019 – rhythm, chaos and nonpulsed man.: This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben's discussion, first, of Nietzsche and the active nihilist's relation-ship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben's notion - (...) |
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A recepção de Nietzsche da filosofia transcendental de Kant é intermediada por diversos autores de diferentes tendências filosóficas que se viam em continuidade com o projeto kantiano de uma filosofia crítica. Um desses autores é Afrikan Spir, filósofo que levou a cabo um programa de renovação da filosofia crítica que ia na contramão da tendência hegemônica na segunda metade do século XIX de naturalização do kantismo. A influência de Spir na construção de algumas das teses epistemológicas centrais do pensamento de (...) |
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Friedrich Nietzsche’s theory of eternal recurrence is an essential part of his mature philosophy, but the theory’s metaphysical commitments and practical implications are both obscure. In this essay I consider only the metaphysical elements of the theory, with the aim of determining whether it is possible that we live our lives infinitely many times, as the theory maintains. I argue that the possibility of eternal recurrence turns on issues in personal identity and the metaphysics of time. As I proceed, I (...) |
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This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben’s discussion, first, of Nietzsche and the active nihilist’s relationship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben’s notion of the “rhythmic” and “poietic” encounter is one which situates the experience of rhythm as the experience of the originary dimension of temporality and of the (...) |
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