Nihilism -- Overcoming disorientation -- The will to power -- Overcoming despair -- The eternal recurrence -- Dionysian wisdom.

Argues that Nietzsche tried to create a specific literary character in his writings and discusses the paradoxes of his work.

Anscombe guides us through the Tractatus and, thereby, Wittgenstein's early philosophy as a whole. She shows in particular how his arguments developed out of the discussions of Russell and Frege. This reprint is of the fourth, corrected edition.

The Enchantment of Words is a study of Wittgenstein's early masterpiece, the Tractatus Logico-Philosophicus. Recent years have seen a great revival of interest in the Tractatus. McManus's study of the work offers novel readings of all its major themes and sheds light on issues in metaphysics, ethics and the philosophies of mind, language, and logic.

Introduction This book is not a systematic commentary on the canonicaJ topoi of "Nietzsche's philosophy." Since my emphasis is on those parts or aspects of ...

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art into (...) four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

Aesthetic transfiguration, as described by Nietzsche, is the capacity of art to alchemize the meaningless sufferings of natural existence into the aesthetically magnificent struggle that is human ‘life’. Like Nietzsche, Schopenhauer assessed ‘art from the perspective of life’. As Schopenhauer is standardly read, however, his conception of aesthetic experience has little in common with that offered by Nietzsche. Against the standard reading, this chapter argues that Nietzsche’s psychology of aesthetic experience—and in particular his idea that aesthetic transfiguration invests human experience (...) with positive value—is essentially an elaboration of insights owed to Schopenhauer. (shrink)