This paper uses an extended discussion of Nietzsche’s essay “The Greek State” to uncover the political aspects of his early thinking. The paper builds on a similar discussion of another essay from the same period, “Homer on Competition,” in arguing that Nietzsche’s thinking is based on a confrontation with the work of Plato. It is argued that the key to understanding “The Greek State” is seeing it, in its entirety, as an enigmatic interpretation and re-writing of Plato’s Republic. Nietzsche interprets (...) the Republic as Plato’s accomplishment of the task of the genuine philosopher: the legislation of values and the moulding of human character. (shrink)

The paper is a close reading of Nietzsche's early essay, "Homer on Competition". It explores the understanding of nature as strife presented in that essay, how this strife channels itself into cultural or state forms, and how these forms cultivate the creative individual or genius. The article concludes by asserting that Nietzsche's central point in "Homer on Competition" concerns the contest across the ages that is fought by these geniuses. For Nietzsche, therefore, competition has a political significance — the forging (...) of the unity and identity of a particular community — and a transpolitical significance — the forging of a "republic of geniuses" on the part of artists and philosophers across the expanse of the tradition. (shrink)

The problem I raise here is not what ought to succeed mankind in the sequence of species (- the human being is an end -): but what type of human being one ought to breed, ought to will, as more valuable, more worthy of life, more certain of the future. (Friedrich Nietzsche1) The question which leads us beyond the grave of our own generation is not 'how will human beings feel in the future', but 'how will they be' ... We (...) do not want to train up feelings of well-being in people, but those characteristics we think constitute the greatness and nobility of our human nature. (Max Weber2). (shrink)

There has been no shortage of readers who take Nietzsche as educator (cf., for a by no means exhaustive list: Allen, 2017; Aviram, 1991; Bell, 2007; Cooper 1983; Fairfield, 2017; Fitzsimons, 2007;...

This dissertation finds its point of departure in the closing section of Nietzsche's Beyond Good and Evil, a passage in which the author turns and addresses what he has just written with the question: "Alas, what are you after all, my written and painted thoughts?" This question calls into question the status of the philosopher's text, and thus poses, it might be said, the very problem of postmodern thought--it is directed after all, to "the philosophers of the future." After a (...) consideration of this question, of this coupling of writing and painting, a consideration that leads from the texts of Nietzsche to Derrida and Plato, the dissertation takes up an attempt to think through one possible response to Nietzsche's parting question--that these written and painted thoughts are best taken as art rather than truth. After a consideration of Nietzsche's aestheticism--this turn from truth to art--its antecedents and possible legacy, I then address the controversy surrounding this aestheticist or post-aestheticist turn. Does the turn from truth to art lead out of or only further into nihilism, the crisis of modernity? The dissertation undertakes an extended reflection on Nietzsche's emphasis that art is the countermovement to nihilism. The focus of this reading then turns on Heidegger's Nietzsche, and then also on Derrida's reading of this reading. I take up the suggestion that the development of Nietzsche's thought might be considered as a "more and more radical meditation" on the startling line from Nietzsche's late notebooks: "We have art lest we perish of the truth." For Heidegger this line indicates a "raging discordance between art and truth," a discordance which must be resolved, according to Heidegger, if the countermovement to nihilism is to be successful. The main body of the dissertation then takes up a confrontation with this radically developing meditation through the periods of Nietzsche's career. I examine a number of texts, from The Birth of Tragedy to the last writings in 1888, in order to think through in just what sense Nietzsche may have been developing the thought that we have art lest we perish of the truth. (shrink)

One of the very few matters of nearly universal agreement with respect to Nietzsche interpretation, one that bridges the great analytic/continental divide, is that Nietzsche was offering some sort of account of freedom, in contradistinction to the ‘ascetic’ or ‘slavish’ ways of the past. What remains in dispute is the character of this account. In this paper I present Nietzsche’s account of freedom and his arguments for the superior cogency of that account relative to other accounts of freedom, including irony (...) about the possibility of freedom. (shrink)

In what follows I raise the question of Ariadne and Dionysus for Nietzsche, including the relative size of Ariadne’s ears, as Dionysus observes at the close of “Ariadne’s Lament” [Klage der Ariadne]. Nietzsche’s references to ears invoke not only Nietzsche’s “selective” concern with having the right ears but also the question of myth and genealogical context. Reading through myth is key not only in terms of the textual, lyric tradition but also painting and sculpture, including sarcophagi in antiquity. It makes (...) all the difference to ask, as Karl Kerényi cites Nietzsche as asking: Wer weiß …was Ariadne ist? And not less: who was she to Dionysus? To this extent, Nietzsche’s concern with ears, small and long, is less incidental or furry fetish than hermeneutic attunement. (shrink)

In this paper, I critique the prevalent notion that only in the abyss can one emerge to be the Übermensch, or to use Hollingdale’s term, the Superman. To support this, I will first expound on the notion of the abyss as ethical nihilism from the perspective of the death of God to Nietzsche’s critique of morality. I argue that ethical nihilism as an abyss is insufficient in constituting Nietzsche’s Superman. I will then set how the Superman emerges through counter-stages. The (...) paradox is that such tragic an abyss that serves as conditio sine qua non for the Superman falls flat when looked at in the perspective of life. There underlies a fundamental difficulty in simply accepting the proposals of acknowledging the abyss or ‘becoming what one is.’ Later, Nietzsche’s anti-romanticism and anti-Darwinism are explored to support such difficulty. (shrink)

This essay identifies two different methodological strategies used by the proponents of anarchism. In what is termed the "ontological" approach, the rationale for anarchism depends on a particular representation of human nature. That characterization of "being" determines the relation between the individual and the structures of social life. In the alternative approach, the epistemological status of "representation" is challenged, leaving human subjects without stable identities. Without the possibility of stable human representations, the foundations underlying the exercise of institutional power can (...) be challenged. This epistemological discussion is traced from Max Stirner to the twentieth-century movement known as poststructuralism. (shrink)

The purpose of this paper is to examine the relationship between Friedrich Nietzsche's notion of the agon (Greek for contest) and the construction of athletic ability. In 'Homer's contest', Nietzsche claims that the ancient Greek agon was a contest that included only the most qualified competitors battling each other for honour and victory. Nietzsche seeks to restore the agon in contemporary society. Nietzsche believes that contests have lost this agonistic meaning since they are no more than contrived competitions between underqualified (...) opponents. I am extending the discussion to the domain of sport. If we stage an agon reminiscent of Greek antiquity, we could have a genuine competition between the most qualified athletes. (shrink)

This paper argues for a psychological understanding of Nietzsche's categories of master and slave morality. Disentangling Nietzsche's parallel discourses of strength, superiority, and spirituality in the first essay of On the Genealogy of Morals, I argue that master and slave morality are better understood as ethical practices of the self than surrogates for either a binary classification of strength and weakness or a political demarcation of oppressor and oppressed. In doing so, I offer an application of this analysis to the (...) horrific violence visited upon the Gaza Strip by Israel in its 2008-09 military assault. (shrink)

Commentators have argued about whether Nietzsche is an aristocratic radical, a postmodern democrat or an anti‐political philosopher. Each of these views is correct in that there is some evidence from Nietzsche's texts that speaks in its favor. However, this fact points to a deeper truth, which is that Nietzsche's politics are confused. Nietzsche argues in favor of certain political ideals throughout his works, but these ideals do not hang together to form a coherent political system. The bulk of the evidence (...) in Nietzsche's corpus supports the view that he is an aristocratic radical, and so, in this paper, I argue my point by targeting this view and showing that Nietzsche does not have a complete or coherent aristocratic system. (shrink)

Nos proponemos abordar el vínculo de Nietzsche con la modernidad política tomando como punto de partida su crítica del espacio público burgués en el contexto de la Alemania de Bismarck. La Kulturkritik nietzscheana apuntará así a recuperar una concepción nihilista del antagonismo en el plano estético e intelectual con implicancias radicalmente transformadoras en el plano de la vida social. Pese a su rechazo de la democracia y su cuestionamiento permanente de las ideologías modernas, en el pensamiento tardío de Nietzsche la (...) politización y la temporalización propias de la experiencia política del Sattelzeit (Koselleck) constituirán elementos por igual influyentes tanto en su visión de la cultura como al nivel de su reflexión ontológica. Ellas aparecerán así fuertemente reflejadas en una concepción de la crítica y en su versión particular del “antagonismo cultural” (Geisterkrieg), dos preocupaciones específicamente dirigidas contra los efectos despolitizadores de la moral cristiana en el periodo decimonónico burgués. (shrink)

It is not evident in what sense philosophy relates to its own time and present. From the history of philosophical thought, several models have been suggested, ranging from a strong reliance on tradition to the wholesale rejection of the present and demand for a ‘philosophy of the future,’ from the suspicion that philosophy is nothing but one ideology among others to the demand that philosophy should engage in the struggles and conflicts of its time in order to prepare for a (...) better future. The essay presents an assessment and problematization of these approaches and argues for a point of view that starts from philosophy’s precarious, ambivalent and contingent relation to its time and contemporaneity. Neither wholly independent of nor entirely subjected to its own time, philosophy can inhabit a shifting position from which critique and resistance are possible even if not ultimately guaranteed. (shrink)

Encontrando un gran placer en la paradoja, el teórico social nacido en Jamaica Stuart Hall cuenta esta historia de la “desintegración” de la identidad inglesa después de la guerra, en la época poscolonial.