Introduction -- Nazi philosophy -- The expulsion of the invaders -- Philosophical method : virtue vs. vice -- The virtuous tradition : analysis, liberalism, englishness -- Epilogue.

What can--and what can't--philosophy do? What are its ethical risks--and its possible rewards? How does it differ from science? In Philosophy as a Humanistic Discipline, Bernard Williams addresses these questions and presents a striking vision of philosophy as fundamentally different from science in its aims and methods even though there is still in philosophy "something that counts as getting it right." Written with his distinctive combination of rigor, imagination, depth, and humanism, the book amply demonstrates why Williams was one of (...) the greatest philosophers of the twentieth century. Spanning his career from his first publication to one of his last lectures, the book's previously unpublished or uncollected essays address metaphysics, epistemology, and ethics, as well as the scope and limits of philosophy itself. The essays are unified by Williams's constant concern that philosophy maintain contact with the human problems that animate it in the first place. As the book's editor, A. W. Moore, writes in his introduction, the title essay is "a kind of manifesto for Williams's conception of his own life's work." It is where he most directly asks "what philosophy can and cannot contribute to the project of making sense of things"--answering that what philosophy can best help make sense of is "being human." Philosophy as a Humanistic Discipline is one of three posthumous books by Williams to be published by Princeton University Press. In the Beginning Was the Deed: Realism and Moralism in Political Argument was published in the fall of 2005. The Sense of the Past: Essays in the History of Philosophy is being published shortly after the present volume. (shrink)

This article extends recent efforts to investigate Nietzsche through the lens of Bernard Williams and Williams through the lens of Nietzsche by focusing on their respective conceptions of, and attitudes toward, pessimism. Specifically, the article investigates whether Williams should be regarded as endorsing or manifesting tragic or Dionysian forms of pessimism, which Nietzsche valorizes under the term “pessimism of strength,” or whether he is better associated with the Schopenhauerian or romantic pessimism, or even the Socratic optimism, that Nietzsche rejects. The (...) answer is held to turn on the interpretation of Williams's obscure notion of “confidence.”. (shrink)

Many commentators have said that Nietzsche is concerned, either in all or in some parts of his career, with providing a kind of ‘theodicy,’ or with justifying or finding meaning in suffering. In this article, I examine these notions, questioning whether terms such as ‘theodicy’ or ‘justifying suffering’ are helpful in getting Nietzsche’s views into focus, and exploring some unclarities concerning the way in which such terms themselves are understood. I conclude that, while Nietzsche’s later position is continuous with the (...) tradition of theodicy in seeking to relate suffering’s value to some wider whole, it is also discontinuous with that tradition because it does not hold that suffering as such has a fixed normative value, that suffering as such has a meaning, that it happens for a reason, or that it is justified, let alone that the world’s containing suffering is in line with our interests, or that we ought because of suffering to value our lives one way or another. On Nietzsche’s view there is nothing that guarantees meaning or specific normative value to suffering just because it is suffering. In all these senses Nietzsche has moved away from the tradition of theodicy. (shrink)

In The Birth of Tragedy Nietzsche expounds on the origins of Greek tragedy and its relevance to the German culture of its time. He declares it to be the expression of a culture which has achieved a delicate but powerful balance between Dionysian insight into the chaos and suffering which underlies all existence and the discipline and clarity of rational Apollonian form. In order to promote a return to these values, Nietzsche critiques the complacent rationalism of late nineteenth-century German culture (...) and makes an impassioned plea for the regenerative potential of the music of Wagner. A wide ranging discussion of the nature of art, science, and religion, The Birth of Tragedy's argument raises important questions about the problematic nature of cultural origins which are still valid today. (shrink)

European Journal of Philosophy, Volume 29, Issue 4, Page 937-947, December 2021.

'Yes, what is Dionysian? - This book provides an answer - "a man who knows" speaks in it, the initiate and disciple of his god.' The Birth of Tragedy is a book about the origins of Greek tragedy and its relevance to the German culture of its time. For Nietzsche, Greek tragedy is the expression of a culture which has achieved a delicate but powerful balance between Dionysian insight into the chaos and suffering which underlies all existence and the discipline (...) and clarity of rational Apollonian form. In order to promote a return to these values, Nietzsche undertakes a critique of the complacent rationalism of late nineteenth-century German culture and makes an impassioned plea for the regenerative potential of the music of Wagner. In its wide-ranging discussion of the nature of art, science and religion, Nietzsche's argument raises important questions about the problematic nature of cultural origins which are still of concern today. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Nietzsche wrote The Gay Science, which he later described as 'perhaps my most personal book', when he was at the height of his intellectual powers, and the reader will find in it an extensive and sophisticated treatment of the philosophical themes and views which were most central to Nietzsche's own thought and which have been most influential on later thinkers. These include the death of God, the problem of nihilism, the role of truth, falsity and the will-to-truth in human life, (...) the doctrine of the eternal recurrence, and the question of the proper attitude to adopt toward human suffering and toward human achievement. This volume presents the work in a new translation by Josefine Nauckhoff, with an introduction by Bernard Williams that elucidates the work's main themes and discusses their continuing philosophical importance. (shrink)

_ Discusses the ethical aspects of literature._.

Autobiografie van de Britse wijsgeer, waarin de jaren 1946-1963 aan de ordekomen.

In 1872 Nietzsche shocked the European philological community with the publication of the Birth of Tragedy. In this fervid first book Nietzsche looked to ancient Greek culture in the hope of finding the path to a revitalization of modern German culture. Cultural health was at this point unquestionably his paramount concern. Yet postwar Nietzsche scholarship has typically held that after his Untimely Meditations which followed soon after, Nietzsche’s philosophy took a sharply individualist turn—an interpretation largely due to Walter Kaufmann’s noble (...) and influential effort to counter the Nazi appropriation of Nietzsche by stressing Nietzsche’s anti-political individualism and downplaying his seemingly more noxious Kulturphilosophie. But even after Nietzsche gave up on the idea of German culture as something blessed with inner truth and greatness and Nietzsche gave up on the idea of German culture as something blessed with inner truth and greatness and pregnant with the potential for renewed splendor–heaping scorn instead on the Germans and their newly-founded Reich–he still, I argue, continued to take culture, as a collective social achievement, to be something of prime importance. Indeed, it is for this reason that he took the flourishing of great individuals–especially artists and intellectuals–to be vital. Their singularity and their excellence redeems the decadent cultural landscape from the bovine blight of the “last man” and the self-satis!ed, uncreative, and barren mediocrity he represents. My dissertation uses Nietzsche’s perfectionistic ideal of a flourishing culture as a point of departure for investigating many of the central themes in his work: his criticism of the ideals enshrined in conventional morality; his attack on Christianity; his celebration of individual human excellence and cultural accomplishment; his lamentations about cultural decline; his troubling remarks about the need for slavery (“in some sense or other”) if a society is to flourish; and his grand ambitions for a “revaluation of all values.”. (shrink)

A professor of logic at Oxford, tells of his education at Eton and Oxford, his growing interest in philosophy, and his return to Oxford after service as an intelligence cadet during the war.

Discusses the ethical aspects of literature.

The English original of Bernard Williams’s Ethics and the Limits of Philosophy was published in 1985. Since its publication, it has provoked a substantial body of philosophical commentary, sympathetic as well as critical. Williams’s introduction to the 1990 French translation of Ethics and the Limits of Philosophy is an unusual text and an illuminating new source for readers of Williams. Refreshingly, it reflects an effort on Williams’s part to establish a connection with a new set of readers. It is also (...) the work of a philosopher relishing the freedoms that come from not having to connect with the old one. Does his introduction itself benefit from a further introduction? We believe that it does, and for the same reason that the book needed some prefatory words before it could be put into the hands of French readers: because the work is not, or no longer, fully self-explanatory. (shrink)