Cataloguing: -/- Twilight of the Idols or How to Philosophize with a Hammer / By Friedrich Nietzsche (1844-1900). [Götzen-Dämmerung. English]. Translation of text, afterward, notes, letters, and appendixes by ©Daniel Fidel Ferrer, 2013. 1. Philosophy 2) Metaphysics 3) Philosophy, Germa 4) Philosophy, German -- 19th century 5) Philosophy, German – Greek influences I. Nietzsche, Friedrich Wilhelm, 1844-1900 II. Ferrer, Daniel Fidel, 1952- .

This chapter discusses the Rawlsian project of public reason, or public justification-based 'political' liberalism, and its reception. After a brief philosophical rather than philological reconstruction of the project, the chapter revolves around a distinction between idealist and realist responses to it. Focusing on political liberalism’s critical reception illuminates an overarching question: was Rawls’s revival of a contractualist approach to liberal legitimacy a fruitful move for liberalism and/or the social contract tradition? The last section contains a largely negative answer to that (...) question. Nonetheless the chapter's conclusion shows that the research programme of political liberalism provided and continues to provide illuminating insights into the limitations of liberal contractualism, especially under conditions of persistent and radical diversity. The programme is, however, less receptive to challenges to do with the relative decline of the power of modern states. (shrink)

This paper argues that juridification has become the enemy of legality. By 'juridification' is meant the proliferation of legal norms and legally recognized norms. By legality is meant conformity with the ideal of the rule of law. The paper begins with the most obvious ways in which juridification threatens legality. Too much law makes the law on any subject hard to discover, hard to remember, and hard to follow. It also makes us too dependent on the discretion of petty officials, (...) who are therefore not sufficiently constrained by law. But the paper looks beyond the discretion of petty officials and argues that, in a way, the biggest threat to legality of our age comes from the proliferation of contractual norms, and the increasing diversion of contractual dispute-resolution into arbitration (and other ADR processes). The paper argues that those who rely on the law to recognise contracts should be subjected to an non-excludable jurisdiction of the courts in respect of all questions of law arising under those contracts, including their proper legal meaning. A compulsory arbitration clause, in other words, should be valid only subject to extensive judicial review of the arbitrator’s decisions. It is argued that contractual arbitration (and other ADR) that does not meet this condition is free-riding on the work of courts and professional lawyers, and should be regarded as antisocial – and that this is true even when it does more perfect justice between the parties. (shrink)

This brief article presents the introduction and draft of the fundamental ideas developed at length in the book of the same title, which gives a challenging point of view about science and its history/philosophy/sociology. Science is in decline. After centuries of great achievements, the exhaustion of new forms and fatigue have reached our culture in all of its manifestations including the pure sciences. Our society is saturated with knowledge which does not offer people any sense in their lives. There is (...) a loss of ideals in the search for great truths and a shift towards an anodyne specialized industry. (shrink)

Journal of Mass Media Ethics, Volume 26, Issue 3, Page 240-242, July-September.

"Twilight of the Idols" plays an important role in Nietzsche’s work, since it represents the opening writing of the philosophical project called "Transvaluation of all values". In that text, Nietzsche aims to sound out the "eternal idols", which means to disclose the inconsistency of the principles of traditional metaphysics. The way Nietzsche addresses the "old truths" in Twilight of the Idols leads back to his early writings, when his theory of knowledge is first outlined, inspired by Schopenhauer as (...) much as neo- and post-Kantian thinkers such as F. Lange and A. Spir. As I shall show, these observations can be compared with Ernst Mach's anti-metaphisical attitude to the ordinary world-conception, insofar as Mach as much as Nietzsche stressed the importance of a historical approach as instrument to enlighten the "prejudices" of traditional scientists or philosophers. (shrink)

Over the course of the Twilight series, Bella strives to and eventually succeeds in convincing Edward to turn her into a vampire. Her stated reason for this is that it will allow her to be with Edward forever. In this essay, I consider whether this type of immortality is something that would be good for Bella, or indeed for any of us. I begin by suggesting that Bella's own viewpoint is consonant with that of Leo Tolstoy, who contends that (...) one could not have meaningful life without immortality, because only immortality could allow one to make a permanent difference in the world. I argue that this characterization of a meaningful life is problematic, however, insofar as (1) immortality is neither sufficient nor necessary for having such an impact and (2) there is little reason to think that having such an impact is constitutive of a meaningful life. I go on to consider Edward's fear that vampires lack a soul as it relates to Martha Nussbaum's claim that immortal beings would be less capable of certain paradigmatic human values and virtues such as courage, love, or self-sacrifice. I suggest, contra Nussbaum, that Carlisle provides an example of an immortal who displays recognizably human virtues. However, the possibility of Carlisle's being virtuous in this way depends on the existence of other creatures who are mortal. -/- I close by considering the problem of boredom, as articulated by Bernard Williams. According to Williams, a meaningful human life is constituted by certain categorical desires such as the desire to raise children or to create art. The projects aimed at accomplishing these desires are necessarily finite in length, and cannot be repeated indefinitely without losing their value. I argue that many, though perhaps not all, of the immortals described in the series suffer from such boredom. For example, Edward and Rosalie struggle to find meaning in their lives and most werewolves choose to age and die normally after a certain time. Perhaps more significantly, many of the non-"vegetarian" vampires seem to have become entirely divorced from any recognizably human projects or values, and have become focused entirely on satisfying their immediate desires. These examples provide some reason to think that many of Bella's reasons for living, which are essentially tied to her mortality, are not likely to be met by becoming immortal. While this does not show that her choice to become a vampire will leave her ultimately unhappy, it does suggest that her doing so represents a considerable sacrifice. (shrink)

Nietzsche writes a great deal about freedom throughout his work, but never more explicitly than in Twiling of the Idols, a book he described as 'my philosophy in a nutshell'. This paper offers an analysis of Nietzsche's conception freedom and the role it plays within Twilight.

Social justice demands that we attend carefully to the epistemic terrains we inhabit as well as to the epistemic resources we summon to make our lived experiences tangible to one another. Not all epistemic terrains are hospitable—colonial projects landscaped a good portion of our epistemic terrain long before present generations moved across it. There is no shared epistemicterra firma,no level epistemic common ground where knowers share credibility and where a diversity of hermeneutical resources play together happily. Knowers engage one another (...) on a politically saturated,unlevel knowing fieldwhere members of dominant groups work to forcibly maintain their epistemic home-terrain advantage. I use the metaphor of the unlevel knowing field to capture these oppressive epistemic structures. The unlevel knowing field is a hungry place where all knowledge that fails to nurture and sustain dominant ways knowing risks being dragged onto the dominator's epistemic home turf to be mined, coopted, consumed, or destroyed. Knowledge and willful ignorance circulate with equal vigor in this hungry world. From the standpoint of oppressed/resisting peoples, the unlevel knowing field is a minefield, an epistemic twilight zone, which must be traversed with considerable care and endless attention. The harms epistemic injustice produces are not disembodied harms. Repeated acts of injustice weather our bodies, dull our minds, weaken our hearts, and traumatize the spirit of our communities. They create public-health precarities and invite mental, emotional, physical, and spiritual illness into our being. Epistemic oppression is a cruel thief. It is disorienting, exhausting, and deadly. It triggers anger, anxiety, depression, and resistance. It steals our time, energy, and attention away from more beautiful things. (shrink)

In his Twilight of the Idols, Friedrich Nietzsche praises Heraclitus, the Greek pre-Socratic, for his “assertion that being is an empty fiction.” 1 The philosophical notion of being, which seems to refer to fixed entities or substances, is eclipsed (at least in the mind of Nietzsche [and perhaps other philosophers—Gilles Deleuze comes to mind]) by the notion of becoming. As a result of our innate nothingness—which I defend linguistically, via the structuralist concept of the arbitrary nature of the linguistic (...) sign—it would seem that we do, in fact, lack a fixed internal essence. Rather, we are constantly redefining (and free to redefine) our being, which is never fixed. It would seem that “un-fixed” being is becoming. In my paper, I aim to track this notion of becoming, as directly opposed to being, through two literary instances: the biblical Christ, and the philosopher-author Nikos Kazantzakis’ Zorba the Greek. (shrink)

Direct reference theory faces serious prima facie counterexamples which must be explained away (e.g., that it is possible to know a priori that Hesperus = Phosphorus). This is done by means of various forms of pragmatic explanation. But when those explanations that provisionally succeed are generalized to deal with analogous prima facie counterexamples concerning the identity of propositions, a fatal dilemma results. Either identity must be treated as a four-place relation (contradicting what just about everyone, including direct reference theorists, takes (...) to be essential to identity). Or direct reference theorists must incorporate a view that was rejected in pretty much our first lesson about identity—namely, that Hesperus at twilight is not identical to Hesperus at dawn. One way of the other, the direct reference theory is thus inconsistent with basic principles concerning the logic of identity, which nearly everyone, including direct reference theorists, take as starting points. (shrink)

The aim of this paper is to shed light on Nietzsche’s late investigation of the Western human being, with particular reference to Twilight of the Idols. I shall argue that this investigation can be seen as a “pragmatic anthropology,” according to the meaning that Kant gave to this notion in 1798. Although the paper focuses on Nietzsche’s thought, an analysis of Kant’s anthropology and the comparison between and Nietzsche’s late views of the human being, will show both their differences (...) and similarities on the topic. (shrink)

Aim of this paper is to reflect on the anthropological ideal Nietzsche outlines in his late period. The way Nietzsche deals with concepts such as “German”, “(good) European”, and “free spirit” in the sections of Twilight of the Idols which deal with Goethe will be especially considered. Furthermore, I shall argue that Renaissance plays an important role in Nietzsche’s anthropological project, for it helps to define the spiritual strength which characterizes the health type of man to which Nietzsche destined (...) his late philosophical wisdom and gay science. (shrink)

International human rights law is profoundly oxymoronic. Certain well-known international treaties claim a universal character for human rights, but international tribunals often interpret and enforce these either narrowly or, if widely, they rely upon sovereign states to enforce the rights against themselves. International lawyers and diplomats have usually tried to resolve the apparent contradiction by pressing for more general rules in the form of treaties, legal doctrines, and institutional procedures. Despite such efforts, aliens remain who are neither legal nor illegal (...) and who thereby slip through a discourse that claims universality. I ask, why does international legal discourse claim a universality of human rights enforceable by impartial, politically neutral tribunals when it also recognises that a state may refuse to recognise some groups as “persons”? I turn to the works of Bernhard Waldenfels for an explanation. To that end, I briefly outline two examples of state-centered human rights treaties. I then reconstruct Waldenfels’ explanation as to how a territorial sense of space needs an alien exterior to the space. The territorial structure assumes time is frozen as of the date of the foundation of the structure. The body of the alien is taken as a biological body. The personality, motives, and actions of the alien are the consequence of the imagination of people inside the territorial boundary. The dominant international legal discourse reinforces and institutionalises such a territorial sense of space and frozen time because the territorial state is considered the primary legal subject of international law. I also retrieve, however, an experiential but concealed sense of space and time. To retrieve this sense of space and time requires that lawyers see the world through the twilight of legality heretofore ignored as pre-legal. (shrink)

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the term (...) “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

This essay connects Kafka's German and his Jewish linguistic sources, and explores the trans-national perspective on literary tradition they helped him create. I begin with a critique of Deleuze and Guattari's view of Kafka as a minority writer, showing how their cold war nationalism scants the positive contributions that Yiddish and Hebrew made to his work. I continue with an examination of the "twilight of containment," when this postcontemporary Kafka began to break through his cold war canonization after 1989. (...) Other sections include: "German-Jewish Traditions: The Echoes of Yiddish," on Kafka's cultural politics; "Hebrew: Zionism in a Transnational Key"; and "Goethe's Jewish Voices," on Yiddish as a model for Kafka's new conception of national writing. I conclude by considering the Jewish and other sources of Kafka's "linguistic turn," and the general, transnational focus on tradition that Jewish languages brought to his classic texts. (shrink)

"The Mind is not a Vessel to be Filled but a Fire to be Kindled", and "Education is Not the Filling of Pail But the Lighting of a Fire", and ... Something About a Horse ... You can lead a horse to water, but you can’t make it smile? Because of the long face and all? (No, that can’t be it). Anyway, borrowing a bit from Plutarch and Yeats (maybe, there is no agreement on whether he said that about pails (...) and fires), and some idiom from 12th Century Old English about horses walking on water, I assume, we can glean the following gem: learning requires active participation by learners. It is almost embarrassing to have to write that, but here we are with education today, mostly unloading facts into unlit receptacles. This doesn’t work, and not just because the metaphor is mixed. Genuine learning requires focus, which requires motivation, which is cultivated by interest, which needs curiosity, which is not something teachable through the typical educational curricula. I can, as Aristotle tells us, teach students the basics of some ethical theory, but I cannot make them virtuous. Ah-ha! I can lead a horse to water, but I can’t make it abide by the categorical imperative (No, that’s not quite right. Although it’s true--most horses are utilitarians). One way that seems to work in piquing student interest in learning philosophy is to use humor as you make the case that a philosophical attitude is very similar to a humorous attitude. Both rely heavily on questioning our collective presuppositions, both cultivate rational skepticism, and both are never content with accepting traditions and values that are mindlessly received. I’ve got it now: You can lead a horse to water, but you can’t make it an iconoclast! (still not it). Friedrich Nietzsche published a book in 1889 titled Twilight of the Idols: Or How to Philosophize with a Hammer. This was during his most frenetic and fecund period, just before the syphilis set in rendering him somewhat less than his lauded Ubermensch. The “Idols” for Nietzsche were “false gods” or the ubiquitous errors that philosophy should expose. He is likely borrowing (without citation!) from sir Francis Bacon, whose “idols” are fetishes which can divert us from the pursuit of truth. Learning is hard, but it doesn’t have to be gloomy, hence, I advocate for a different sort of hammer to act as a “tuning-fork” sounding out the hollow and dangerous idols handed down to us that have passed for sagacity. (shrink)

Over the last thirty years, once staunchly historical cinema scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, and André Gaudreault have abandoned history for historiography and film studies for media archaeology. With increasing attention on the “database” as a symbolic metaphor for postmodernity and the decentered, networked tenants of the global present, cinema is taking on the characteristics of new media, existing in intertextual space. Thus, the term “post-cinema” has been co-opted as a viable intermediary that accounts for new (...) media conditions, as cinema is no longer emblematic of our cultural climate. As Giorgio Agamben wrote in 1992, “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema…human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere." Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. (shrink)

This paper focuses on sections of Nietzsche's Twilight of the Idols that deal with Goethe, with the aim of reflecting on the anthropological ideal that Nietzsche outlines in his late period. I give particular attention to the way in which Nietzsche deals with concepts such as "German", "(good) European", and "free spirit", connecting them in a coherent picture. Finally, I argue that the Renaissance plays an important role in Nietzsche's anthropological project, for it helps to define the spiritual strength (...) that characterizes the healthy type of man whom Nietzsche thought destined to realize his late philosophy. (shrink)

This chapter contains sections titled: Truth and Falsity Truth and Belief Truth and Correspondence Truth and Coherence Defining and Testing for Truth: Correspondence and Coherence Sources.

I discuss the main claims in a new book on the origins of morality . These are: i) our time, far from being the twilight of morality, is the first time in human history when a universalistic and autonomous morality has emerges as a social phenomenon, not just as a philosophical theory; ii) even if thousand years of rational philosophical discussion of morality has yielded valuable insights, yet a fresh start of critical reflexion on morality qua phenomenon is first (...) possible now, starting with a sociological understanding of morality as spontaneous emergence of codes of norms; iii) sociology is intrinsically ethical theory, since at a certain point, no empirical and technocratic proc-essing of social data still makes sense and sociological discourse has to become reflexive, interpretive, and most of all, construed in terms of explicit valuations. (shrink)