In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 8-21MuseSearchJournalsThis JournalContents[Access article in PDF]Klossowski's Reading of Nietzsche Impulses, Phantasms, Simulacra, StereotypesDaniel W. SmithIn his writings on Nietzsche, Pierre Klossowski makes use of various concepts—such as intensities, phantasms, simulacra and stereotypes, resemblance and dissemblance, gregariousness and singularity—that have no place in Nietzsche's own oeuvre. These concepts are Klossowski's own creations, his own contributions to thought. Although Klossowski consistently refused to characterize himself (...) as a philosopher ("Je suis une 'maniaque,'" he once said, "Un point, c'est tout!"),1 his work in its entirety was marked by an extraordinary conceptual creation. From this point of view, his Nietzsche and the Vicious Circle can be read as a work in philosophy—at least in the idiosyncratic sense given to this term by Gilles Deleuze, who defined philosophy as the creation or invention of concepts [Deleuze and Guattari 2]. No doubt, Klossowski remains an almost unclassifiable figure—philosopher, novelist, essayist, translator, artist—and attempting to analyze his work through the prism of philosophy may seem to be a reductive approach that belies the complexity of his exceptional oeuvre. Reading Klossowski as a conceptual innovator, however, at least has the advantage of allowing us to chart a consistent trajectory through his difficult and often labyrinthine text, without denying its other dimensions (affective, perceptive, literary, and so on). In what follows, then, I would like to examine three of Klossowski's most characteristic and important concepts—impulses and their intensities, phantasms, and simulacra and their stereotypes—as well as the precise interrelations he establishes among them. Taken together, these three concepts describe what Klossowski terms the tripartite economy of soul, which constitutes the implicit model through which he interprets Nietzsche's thought.1Impulses as Fluctuating IntensitiesKlossowski describes his books on both Nietzsche and Sade as "essays devoted not to ideologies but to the physiognomies of problematic thinkers who differ greatly from each other" ["Postface" 137, emphasis added]. This emphasis on the "physiognomy" of thinkers reflects Nietzsche's insistence on taking the body rather than the mind as a guide for philosophy since the body is a more accessible phenomenon, less surrounded by myth and superstition. "The body and physiology as the starting point," Nietzsche wrote. "Why?... The phenomenon of the body is the richer, clearer, more tangible [End Page 8] phenomenon.... Belief in the body is more fundamental than belief in the soul" [WP §§492, 489, 491]. Klossowski himself, however, when writing of the intensive status of the impulses, frequently makes use of the term "soul" (âme), owing in part, no doubt, to his interest in the theological literature of the mystics, such as Meister Eckhardt and Teresa of Avila. For the mystics, the depth of the soul is something irreducible and uncreated: it eludes the exercise of the created intellect, and can only be grasped negatively.2 Nonetheless, if one can find a similar apophaticism (or "negative theology") in Klossowski, it is related exclusively to the immanent and chaotic movements of the soul's intensive affects, and not to the transcendence of God. What is incommunicable in the soul (or body) are its "impulses"—their fluctuations of intensity, their rises and falls, their manic elations and depressive descents, which are in constant variation.Nietzsche himself had recourse to a highly varied vocabulary to describe what Klossowski summarizes in the term "impulse": "drive" (Triebe), "desire" (Begierden), "instinct" (Instinke), "power" (Mächte), "force" (Kräfte), "impulse" (Reize, Impulse), "passion" (Leidenschaften), "feeling" (Gefülen), "affect" (Affekte), "pathos" (Pathos), and so on.3 Klossowski frequently employs the musical term tonalité to describe these states of the soul's fluctuating intensities—their diverse tones, timbres, and changing amplitudes—which can take on various forms ("aggressiveness, tolerance, intimidation, anguish, the need for solitude, the forgetting of oneself" [NVC 6]). At bottom, what these impulses express are what Klossowski calls the "obstinate singularity" of the human soul, which is by nature noncommunicable; they constitute "the unexchangeable depth" (le fond inéchangeable) or "the unintelligible depth" (le fond unintelligible) of the soul. What makes every individual... (shrink)

This “essay” aims to think with Klossowski and Foucault the notions of “parody” and “fiction” based on the elegiac gesture presented by Veyne. From this, the “relational” possibility, and the “authors” quotation (notions reframed in the course of the text) will think and open up new possibilities for how to make philosophical historiography. Thus, postulated the death of God and the author's death, how would it break the Identity relations, leading to the end of the A = A relationship (...) between the textually constructed persons and the extra-textual historical ones? This is the question operated as the guideline for the mentioned notions mapping, aiming to deepen the gray area created by the elegiac fiction used here. (shrink)

This paper examines the film "Cloud Atlas" (2012), directed by Lana Wachowski, Tom Tykwer, and Lilly Wachowski, through a philosophical lens. It explores the narrative structure and creative choices of the film, comparing it to the original book by David Mitchell. The analysis focuses on the film's editing and its impact on the portrayal of time, while drawing on Gilles Deleuze's concept of “the fold” and Pierre Klossowski's notion of “vicious circle”. By investigating these philosophical ideas, the paper offers (...) a deeper understanding of the suppression of time in the film and the persistence of essential gestures. It concludes by highlighting the significance of Philosophy and Film research in providing possible insights into complex philosophical concepts and artistic creations. (shrink)

Published in PoMo Magazine vol. 2, nr. 1 (Spring/Summer 1996) during my years as a grad student at the New School. I examine Nietzsche's presentation of the eternal recurrence, and discuss its interpretations by Heidegger, Bataille, Derrida, Klossowski, Stambaugh, and Vattimo. I will be returning to Nietzsche in the future.

On assiste, depuis les années 70, à une interminable littérature sur la vie et la pensée de Nietzsche. Ce foisonnement d’études prend des proportions telles, que même des interprétations relativement récentes (Deleuze, Derrida, Klossowski, Sarah Kofman) se voient déjà élevées au rang des classiques. Les thèmes anciens, mêlés à d’autres plus actuels, sont repris, répétés, relus et réécrits dans des perspectives diverses. Ainsi se noue le dialogue d’une philosophie avec de larges pans de culture : Nietzsche et la métaphysique, (...) Nietzsche et la science, Nietzsche et la politique, Nietzsche et la musique, Nietzsche et la religion, Nietzsche et l’antisémitisme, Nietzsche et les Nazis, Nietzsche et le féminin, Nietzsche et la psychanalyse. (shrink)

This paper was presented as the keynote address at the 2005 Philosophy Graduate Student Conference at the University of Memphis on “Limitations of Subjectivity.”.