In lieu of an abstract, here is a brief excerpt of the content:Will to Power in Nietzsche’s Published Works and the NachlassLinda L. WilliamsIt is universally acknowledged by scholars of Nietzsche’s work that will to power is one of the most important notions in Nietzsche’s writings, but strangely, like the other “central” notions of eternal recurrence and the Übermensch, there are relatively few aphorisms in either the published or unpublished material that include the term. In the case of will to (...) power, however, Nietzsche promises in a footnote in On the Genealogy of Morals to discuss and explore the notion of will to power in a book entitled The Will to Power. 1 Giorgio Colli and Mazzino Montinari, among others, have argued persuasively that Nietzsche abandoned this project. 2 Nevertheless, the phrase “will to power” remains the most notorious feature of Nietzsche’s philosophy, probably due to its unfortunate and mistaken connections with the Third Reich. As Walter Kaufmann notes, the notion of will to power did not “spring fully formed from Nietzsche’s brow like Pallas Athena.” 3 This was an idea that evolved over time. This paper examines both the published and his unpublished writings (the Nachlass) to gain a better understanding of how this important phrase developed.The Nachlass can be divided roughly into three different kinds of work. 4 The first kind is comprised of the works Nietzsche was editing right before his collapse. These works are Ecce Homo, Nietzsche Contra Wagner, and The Antichrist, and they were so polished that we can safely take them as [End Page 447] equal in status to the works that Nietzsche had already published or, like Twilight of the Idols, were being published at the time of his collapse. The second kind are Nietzsche’s early, finished pieces that were never published, the so-called Schriften, primarily his lectures and writings while he was employed at Basel. These pieces are presumably complete and polished, although Nietzsche chose not to publish them, but they do not affect this inquiry, since will to power was a relatively late concept for Nietzsche.The third kind of work consists of Nietzsche’s notes, which vary from sentence fragments or single sentences to sketchy outlines of various projects to several long paragraphs in essay form. Nietzsche’s notebooks looked like anyone’s notebook, with passages lined out, words jotted in the margins, and overwriting. Some of the entries in the Nachlass can be found with only minor revisions in the books Nietzsche had published, and since he painstakingly recopied his books in his neatest handwriting right before he sent them to his editor, these strikingly similar entries are most probably the penultimate copy drafts of the published aphorisms.The writings that did not find their way into publication in any form are problematic. Are they rough drafts of some future work which Nietzsche was unable to complete due to his illness? If so, some of these controversial notes would have been waiting for years. Are they ideas that Nietzsche entertained but ultimately rejected? If so, we should not place them on par with the ideas in his published works. Even if we consider these notes rough drafts of future works, it remains unclear whether we should consider what is written in these notes to be as indicative of what Nietzsche thought as the works he authorized for publication. Sometimes what is written in the unpublished notes on a particular topic is very different from what is written on that topic in the published works. Bernd Magnus made this kind of case against the Nachlass notes concerning eternal recurrence, 5 and I want to make a similar claim about the notes concerning will to power. Reviewing the Nachlass notes in conjunction with the published aphorisms will give us a better understanding of how the published and unpublished notes differ.The term “will to power” (Wille zur Macht) first appeared in publication in Thus Spoke Zarathustra. 6 In the aphorism “On 1001 Goals” Nietzsche describes a people’s tablets of good and bad as the voice of its will to power. Wille zur Macht appears in only two more aphorisms in the course of this long work, in “On Self-Overcoming” and in... (shrink)

What Is Man? is Mark Twain's skeptical assessment of free will, and determinism, religious belief, and the nature of humanity. He put off publishing it for 25 years, and then released it anonymously in a limited edition of 250 copies. The book takes the form of a Socratic dialogue between a romantic young idealist and an elderly cynic, who debate such issues as whether man is a machine or a free actor, whether personal merit is meaningless given how our environment (...) shapes who we are, and whether man has any impulse other than pursuing pleasure and avoiding pain. As readers "we listen attentively, leaning forward in our chairs," Charles Johnson writes in his introduction, weighing on our own such statements as the Old Man's claim that "No man ever originates anything.... Men observe and combine, that is all. So does a rat." Linda Wagner-Martin, in the afterword, sees the ideas expressed in this volume as "a thread that runs through even the lightest of Mark Twain's fiction, the calmest of his memoirs; and as the questioning hook that may provide a rationale for his becoming a writer in the first place.". (shrink)

This was published in Cultural Critique (Winter 1991-92), pp. 5-32; revised and reprinted in Who Can Speak? Authority and Critical Identity edited by Judith Roof and Robyn Wiegman, University of Illinois Press, 1996; and in Feminist Nightmares: Women at Odds edited by Susan Weisser and Jennifer Fleischner, (New York: New York University Press, 1994); and also in Racism and Sexism: Differences and Connections eds. David Blumenfeld and Linda Bell, Rowman and Littlefield, 1995.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Kathryn Kein 671 Kathryn Kein Recovering Our Sense of Humor: New Directions in Feminist Humor Studies At the 2014 annual meeting of the American Studies Association (ASA), the Humor Studies Caucus held a panel titled “Female Comedians and the Critical Power of Laughter.” After listening to presentations on Gilda Radner, Lily Tomlin, and Black women comedians’ 1960s comedy albums, one audience (...) member asked the panel if the classic theories of humor—Freud’s theory of the joke, Bergson’s thoughts on laughter (all conceived of in relation to the work of men)—applied when analyzing female comedic performers. One panelist immediately responded that she found none of those theories useful to her work on female comedians, and that instead she used queer theory to aid her analysis. This exchange at ASA points to many of the questions that scholars of humor and feminism are currently facing as they work to address a dearth of scholarship dealing with women, feminism, and comedy. The nods in agreement around the room spoke to the notion that scholarship on the topic of women in comedy is not merely filling in gaps, but breaking new ground. With a few notable exceptions, scholars have been relatively silent on topics involving women and/in comedy.1 The meager 1. See Susanne Lavin, Women and Comedy in Solo Performance: Phyllis Diller, Lily Tomlin, and Roseanne (New York: Routledge, 2004); June Sochen, ed., Women’s Comic Visions (Detroit, MI: Wayne State University Press, 1991); John Limon, “Skirting, Kidding: Ellen Degeneres and Paula Poundstone,” in 672 Kathryn Kein scholarly space devoted to feminism and humor is likely shaped by the fraught relationship women and feminism have had with humor in our cultural imagination. Women have long battled a perception that they, as a sex, are biologically not funny. Men have always vastly outnumbered women on stand-up stages and in comedy writers’ rooms. Former Saturday Night Live writer Anne Beatts recalled that star John Belushi, being of the “chicks-aren’t-funny” school, often requested that the women writers be fired.2 In her bestselling Bossypants, Tina Fey recalls that the gender imbalance of the sketch comedy teams at Chicago’s Second City were due to the fact that directors believed “the audience doesn’t want to see a scene between two women.”3 In his 2007 piece in Vanity Fair brashly titled “Why Women Aren’t Funny,” Christopher Hitchens went so far as to call women and humor “antithetical.”4 In particular, feminist women have been painted as humorless and unable to take a joke. In The Promise of Happiness, Sarah Ahmed, defining her figure of the feminist killjoy, observes that “feminists are typically represented as grumpy his Stand-Up Comedy in Theory, or, Abjection in America (Durham, NC: Duke University Press, 2000). 2. For further accounts of women comedy writers’ and performers’ experiences, see Yael Kohen, We Killed: The Rise of Women in American Comedy: A Very Oral History (New York: Sarah Crichton Books, 2012). 3. Tina Fey, Bossypants (New York: Little, Brown, and Company, 2011), 87. 4. Christopher Hitchens, “Why Women Aren’t Funny,” Vanity Fair 557 (2007): 54 Books Discussed in This Essay All Joking Aside: American Humor and Its Discontents. By Rebecca Krefting. Baltimore, MD: Johns Hopkins University Press, 2014. Pretty/Funny: Women Comedians and Body Politics. By Linda Mizejewski. Austin: University of Texas Press, 2014. The Queer Cultural Work of Lily Tomlin and Jane Wagner. By Jennifer Reed. New York: Palgrave Macmillan, 2013. Kathryn Kein 673 and humorless.”5 In a variation of the age-old joke, when a jokester asks, “How many feminists does it take to change a light bulb?” the respondent doesn’t say “How many?” but instead deadpans, “That’s not funny.” In different ways, the three books reviewed in this essay take up the conversation at ASA and tackle these same questions: How do we analyze humor produced by (and for?) women when our understanding of humor is decidedly male? What omissions have the gendered assumptions about humor caused in scholarship on feminism? How does humor work to address these assumptions? And how does the backdrop of these assumptions influence the comedy... (shrink)

How do we punish others socially, and should we do so? In her 2018 Descartes Lectures for Tilburg University, Linda Radzik explores the informal methods ordinary people use to enforce moral norms, such as telling people off, boycotting businesses, and publicly shaming wrongdoers on social media. Over three lectures, Radzik develops an account of what social punishment is, why it is sometimes permissible, and when it must be withheld. She argues that the proper aim of social punishment is to (...) put moral pressure on wrongdoers to make amends. Yet the permissibility of applying such pressure turns on the tension between individual desert and social good, as well as the possession of an authority to punish. Responses from Christopher Bennett, George Sher and Glen Pettigrove challenge Radzik's account of social punishment while also offering alternative perspectives on the possible meanings of our responses to wrongdoing. Radzik replies in the closing essay. (shrink)

Plato and the Virtue of Courage canvasses contemporary discussions of courage and offers a new and controversial account of Plato's treatment of the concept. Linda R. Rabieh examines Plato's two main thematic discussions of courage, in the Laches and the Republic, and discovers that the two dialogues together yield a coherent, unified treatment of courage that explores a variety of vexing questions: Can courage be separated from justice, so that one can act courageously while advancing an unjust cause? Can (...) courage be legitimately called a virtue? What role does wisdom play in courage? What role does courage play in wisdom? Based on Plato's presentation, Rabieh argues that a refined version of traditional heroic courage, notwithstanding certain excesses to which it is prone, is worth honoring and cultivating for several reasons. Chief among these is that, by facilitating the pursuit of wisdom, such courage can provide a crucial foundation for the courage most deserving of the name. (shrink)

This article considers why truth-telling is so difficult in institutions, and deceit and paltering are so common. Drawing on recent examples of churches and charities exposed for covering up the truth about abuse, the article explores the institutional barriers to truthfulness and considers how they might be removed.

Das Thema "Nietzsche und die Romantik" stellt eine unerschöpfliche Forschungsquelle und dabei ein mehrdimensionales, hermeneutisches Problem in der Literatur- und Philosophiegeschichte dar. Als erster nahm Karl Joël in seiner 1905 erschienenen Monographie "Nietzsche und die Romantik" die Frage der geistigen Verwandtschaft Nietzsches mit romantischen Autoren und der Verwurzelung seiner Philosophie in dem romantischen Komplex unter die Lupe. Aufschlussreiche Forschungsergebnisse lieferten darüber hinaus die Arbeiten von Ernst Behler, Linda Duncan, Ingrid Hennemann Barale, Steffen Dietzsch, Norbert Langer und Dirk von Petersdorff. (...) Insgesamt gehen die Meinungen der Forscher über Nietzsches Verhältnis zur Romantik auseinander. Die einen lehnen entschieden die These, Nietzsche sei der Fortsetzer der romantischen Linie, ab. Die anderen dagegen betonen die weltanschaulichen Ähnlichkeiten in der Denkweise des deutschen Philosophen und der Jenaer Romantiker und halten Nietzsche für den wichtigsten Entdecker der romantischen Motive. Es unterliegt keinem Zweifel, dass Nietzsches Beziehung zur Romantik durch Ambivalenz gekennzeichnet ist. Man muss aber in seinem Falle zwischen den verschiedenen Gestalten und Phasen der Romantik unterscheiden. Mit Sicherheit tritt er gegen die Romantik als die schmerzen- und leidensmildernde Erscheinung auf, die mit "Hunger" und nicht "Überfluss" zu assoziieren ist. Die romantische Kunst als "stimulans des Lebens" wird dann der dionysischen gegenübergestellt, die das Leben bejaht und das Tragische am Leben erscheinen lässt. Die negative Einschätzung der Romantik verbindet sich hier vor allem mit der Kritik an Wagner und Schopenhauer, also den absoluten Meistern aus der Frühphase im Schaffen Nietzsches. Einen anderen Bezugspunkt bietet aber die unterschwellige, geistige Verwandtschaft Nietzsches mit den Schöpfern der Frühromantik, worauf bereits Ernst Behler hingewiesen hat. Die Periodisierung und Differenzierung der Romantik lag zu Lebzeiten Nietzsches nicht vor. Es bleibt auch eine offene Frage, inwieweit der Autor des "Zarathustra" mit den Werken der Jenaer Romantiker vertraut war. Seine Novalis-Lektüre ist zwar dokumentiert, die ästhetischen Vorlesungen von August Wilhelm Schlegel sollen ihm bekannt gewesen sein, aber die eventuelle Friedrich-Schlegel-Lektüre kann durchaus in Frage gestellt werden. Empirische Befunde können somit nicht als ein Ausgangspunkt für die Bearbeitung der Parallelen im Werk Nietzsches und der Jenaer Romantiker dienen. Den Schwerpunkt soll man auf die geistig verwandte ästhetische Weltwahrnehmung und die aktive Form des Denkens legen, das von der widersprüchlichen Struktur des Seins ausgeht. Die Hauptidee gründet sich auf die zerstörerisch-schöpferische, und dadurch ironische, Konzeption des Lebens, die an das Postulat der Poetisierung und Revolutionisierung der Welt, das in-Frage-stellen der Wahrheit und die dynamische, perspektivistische Weltauffassung gebunden ist. Zu den wichtigsten Begriffen der frühromantischen Ästhetik gehören: Poesie, Ironie, Witz, Humor, Fantasie; Nietzsche führt die Kategorie der Kunst, des Dionysischen, des Tragischen und des Übermenschen ein. In beiden Fällen handelt es sich um die Überzeugung, dass die Welt sich ständig in Bewegung, im Prozess des Schaffens befindet. Friedrich Nietzsche gehört zu der sogenannten ironischen Literatur, die Frühromantiker angefangen haben und die im 20. Jahrhundert von solchen Schriftstellern wie Thomas Mann, Walter Benjamin oder Ernst Jünger fortgesetzt wird. (shrink)

With Richard Wagner, opera reached the apex of German Romanticism. Originally published in 1851, when Wagner was in political exile, Opera and Drama outlines a new, revolutionary type of musical stage work, which would finally materialize as The Ring of the Nibelung. Wagner's music drama, as he called it, aimed at a union of poetry, drama, music, and stagecraft. ø In a rare book-length study, the composer discusses the enhancement of dramas by operatic treatment and the subjects (...) that make the best dramas. The expected Wagnerian voltage is here: in his thinking about myths such as Oedipus, his theories about operatic goals and musical possibilities, his contempt for musical politics, his exaltation of feeling and fantasy, his reflections about genius, and his recasting of Schopenhauer. ø This edition includes the full text of volume 2 of William Ashton Ellis's 1893 translation commissioned by the London Wagner Society. (shrink)

The movement of vernacular languages into domains of written language that were formerly the exclusive preserve of Latin is one that characterizes all of late-medieval Europe. I shall address the implications of one aspect of that process, in one country—the vernacularization of science and medicine in England from 1375 to 1475.

Why are we here? What is our higher purpose? How can we lead lives of integrity and wholeness? Increasing numbers of adults, looking for some higher meaning in life, are turning to religion for the answers.Teaching and Learning in Communities of Faith explores the growing movement toward adult religious education and draws on knowledge of the field of adult learning and development to offer strategies for teaching adults in both Christian and non-Christian settings. It emphasizes the importance of integrating religious (...) education with real-life issues and problems. (shrink)

We examine the proof-theoretic verificationist justification procedure proposed by Dummett. After some scrutiny, two distinct interpretations with respect to bases are advanced: the independent and the dependent interpretation. We argue that both are unacceptable as a semantics for propositional intuitionistic logic.

Tradução do texto apresentado por Paul B. Preciado a Sociedade Psicanalitica.

The Book I of Euclid’s Elements begins with three propositiones that ask for the solution of three problems. Unlike other propositiones, these do not assert properties or relationships between geometric objects. In them, some of these objects are assumed as given, and actions are demanded in order to obtain other objects. The solution to this type of problem is a construction, and its foundations can be found in the definitions and postulates of the Geometry of Euclid. Furthermore, each construction is (...) normally accompanied by the resolution of a second problem. This consists in demonstrating that the previously offered solution is correct, i.e., that the presented construction indeed produces what was demanded in the formulation of the initial problem. The first theorem of the Elements is exactly the fourth proposition. We will consider, in a propaedeutic manner, the implications of adopting an approach to geometry where all propositions are interpreted as problems and the solution to any specific construction problem consists in offering a procedure such that, globally, the execution of this procedure on a workspace by a geometer will be simulated by an Euclid machine—which is the central object of analysis of the present article. From this perspective, the Geometry of Euclid would admit an interpretation in which it would be, in addition to a foundational milestone in the history of mathematics, also a foundational milestone in the development of the notion of effective procedure that would only fully come to light in the twentieth century. (shrink)

This commentary on coderre & katz, wiesenfeld-hallin et al., and dickenson focuses on: (a) the brain as an under-recognized contributor to pain facilitation at the spinal cord; (b) these brain-to-spinal pathways being activated by learning or by body infection/inflammation; and (c) the resultant spinal release of anti-analgesic neuropeptides, activators of the NMDA-NO cascade, and activators of glia.

Over the past twenty years, traditional commitments of policy analysis to empirical inquiry and expert knowledge have shaped the policy "solution" for addressing a public perception of ethical decline. Separation of facts and values, basic assumptions regarding the limits and fallibility of human reason, and confidence in the use of objective techniques to achieve social control have all contributed to a regulatory approach to ethics policy within our organizations. Few have questioned these assumptions. This dissertation argues that policy addressing the (...) ethical conduct of individuals cannot avoid a discussion of values, cannot reject the importance of human reason in resolving ambiguous ethical dilemmas, and cannot legislate ethical behavior by tightening the legal and bureaucratic system of rules and regulations. ;By integrating the perspectives of moral philosophy and policy inquiry, this dissertation presents a theoretical critique of the influence traditional regulatory policy approaches to organizational ethics can have on individuals within these organizations. An examination of diverse goals associated with ethics policy reveals three perspectives common to public administration debates--ethics policy as a vehicle for demonstrating social responsibility, as a tool of social control , and as window dressing to appease the public and to avoid further regulation . Concluding that morally responsible ethics policy requires the use of an interdisciplinary policy approach, a judgment-focused model is recommended to enable and empower individuals to develop a moral self capable of addressing ambiguous ethical dilemmas as they arise. (shrink)

While many writers have advocated the importance of narrative as a means of engaging with the problem of extinction, this paper considers what the qualities of visual aesthetics bring to this field. In addressing this question, the discussion turns to the problem of the ethical limits of art raised by Adorno and takes a theoretical turn away from posthumanism to consider how visual responses can redirect attention back to human agency. The focus of visual analysis is on five paintings by (...) the contemporary Iranian artist Naeemeh Naeemaei. Neither exclusively Western nor overtly internationalist in their approach, these artworks refer to the effects of both hunting and the erosion of trans-national habitats as causes of extinction, yet they also show how human affective responses to extinction can extend across geo-political borders to a more global imaginary. As such, Naeemaei’s artworks are regarded as a form of immanent critique of anthropogenic forcing. Her works adapt older traditions in Persian humanism and art to show not only how the human dominion of nonhuman animals has led to extinction, but also how this leads to an almost incalculable sense of human loss. I argue that Naeemaei’s affective imagery of loss is not simply yet another example of how the lifeworld of animals can only be understood from an anthropocentric worldview, but instead points to our inability to yet fully register the immeasurable losses of extinction and what this yet unchartered grief might imply for potential human agency. (shrink)

. Religion and past modernities. Cultural Values: Vol. 3, No. 2, pp. 123-125.