Nietzsche: A Collection of Critical Essays (Modern …

Heidegger’s Nietzsche interpretation is essentially based upon Heidegger’s summary and insight into the history of being and in particular on his interpretation of the metaphysics of modernity. Nevertheless, the question remains open whether Nietzsche does not already leave the metaphysical dimensions of any problems essentially and intentionally behind in his conception of the cosmos. There is a non-metaphysical originality in his cosmological philosophy of “play.” Even the early writings indicate the mysterious dimension of play….

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 The Nietzsche essay ends with a sentence that is a favorite of Heidegger's critics.

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This survey hits only a few highlights of Nietzsche’sfar-reaching critique of traditional moral and religious values, whichextends to many other moral ideas (e.g., sin, otherworldlytranscendence, the doctrine of free will, the value of selflessness,anti-sensualist moral outlooks, and more). For him, however, humanbeings remain valuing creatures in the last analysis. It follows thatno critique of traditional values could be practically effectivewithout suggesting replacement values capable of meeting ourneeds as valuers (see GS 347; Anderson 2009, esp. at225–7). Nietzsche thought it was the job of philosophers tocreate such values (BGE 211), so readers have long andrightly expected to find an account of value creation in hisworks.

Nietzschea Collection Of Critical Essays Modern Studies …

Nietzsche’s work in the beginning was heavily influenced, either positively or negatively, by the events of his young life. His early and on-going interest in the Greeks, for example, can be attributed in part to his Classical education at Schulpforta, for which he was well-prepared as a result of his family’s attempts to steer him into the ministry. Nietzsche’s intense association with Wagner no doubt enhanced his orientation towards the philosophy of Schopenhauer, and it probably promoted his work in aesthetics and cultural criticism. These biographical elements came to bear on Nietzsche’s first major works, while the middle period amounts to a confrontation with many of these influences. In Nietzsche’s later writings we find the development of concepts that seem less tangibly related to the biographical events of his life.

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On the Genealogy of Morals, Second Essay Lyrics A critical comment here about a recently published attempt to find the origin.

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To support his case, Nietzsche.
Nietzsche's On the Genealogy of Morals: Critical Essays (Critical Essays on the Classics Series) [Christa Davis Acampora, Keith Ansell Pearson, Babette Babich.

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Oscar Wilde: A Collection of Critical Essays

In , we saw that Nietzsche’s critique of morality rests crucially onpsychological analyses that purport to expose the self-destructiveeffects of moral attitudes like guilt and ascetic self-denial, as wellas the corrosive mismatch between the official claims of altruisticmorality and its underlying motivation in ressentiment. Onthe positive side, Nietzsche is equally keen to detail thepsychological conditions he thinks would be healthier for bothindividuals and cultures (see, e.g., GS Pref. and 382;BGE 212; TI V, 3 and VIII, 6–7). Thus,Nietzsche’s psychology is central to his evaluative agenda andto his projects as a cultural critic. Aside from its instrumentalsupport for these other projects, Nietzsche pursues psychologicalinquiry for its own sake, and apparently also for the sake of theself-knowledge that it intrinsically involves (GM III, 9;GS Pref., 3 and 324; but cf. GM Pref., 1). Still,despite widespread appreciation of Nietzsche’s psychologicalacumen that started with Freud himself—and despite thecentrality of psychology to his philosophical method, core questions,and evaluative aims—even the most basic outlines of hissubstantive psychology remain a matter of controversy. Debate beginswith the object of psychology itself, the psyche, self, or soul.

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Artists associated with these movements, as well as those committed to performance and feminism, harnessed photography’s documentary potential as part of an investigation into the fundamentals of representation (Joseph Kosuth), as institutional critique (Martha Rosler, Louise Lawler), the re-examination of female stereotypes (Cindy Sherman, Laurie Simmons) or as visual traces of temporal actions (Laurie Anderson, Vito Acconci).