This paper presents affirmation as the central normative category of Nietzsche’s positive ethics. The paper argues in particular for two interpretive claims: first, that from Beyond Good and Evil onwards, we find a new variety of Nietzschean affirmation (‘natural affirmation’), which is crucial to the strategy of his later works; and second, for reasons internal to his own philosophical aims, Nietzsche’s new variety of affirmation is seriously flawed. The author argues for the second claim on the basis that Nietzsche himself (...) requires that affirmation not perform exactly the role he requires that it perform. The author contends that we are thus faced with a major challenge to Nietzsche’s late philosophical project—that (late) Nietzschean affirmation fails by Nietzsche’s own standards. (shrink)

ABSTRACT ABSTRACT: Nietzsche, we are often told, had an account of 'self' or 'mind' or a 'philosophical psychology', in which what he calls our 'drives' play a highly significant role. This underpins not merely his understanding of mind, in particular, of consciousness and action. but also his positive ethics, be they understood as authenticity, freedom, knowledge, autonomy, self-creation, or power. But Nietzsche did not have anything like a coherent account of 'the drives' according to which the self, the relationship between (...) thought and action, or consciousness could be explained; consequently, he did not have a stable account of drives on which his positive ethics could rest. By this, I do not mean that his account is incomplete or that it is philosophically indefensible: both would leave open, misleadingly, the possibility of a rational reconstruction of Nietzsche’s views; both would already assume more unity and coherence than we find in his texts. Specifically, as I show through detailed analysis, Nietzsche provides varied and inconsistent accounts of what a 'drive' is, how much we can know about drives, and the relationship between drives and conscious deliberations about action. I conclude by questioning the hunt for a Nietzschean theory: is this the best way to be reading him? (shrink)

The aim of this paper is to begin a conversation about how we read and write about Nietzsche and, related to this, other figures in the history of philosophy. The principle of charity can appear to be a way to bridge two dif-ferent interpretative goals: getting the meaning of the text right and offering the best philosophy. I argue that the principle of charity is multiply ambiguous along three different dimensions, which I call “unit,” “mode,” and “strength”: consequently, it is (...) not a single, neutral or independent principle to which we can helpfully appeal and it cannot, in itself, perform this bridging function. Nietzsche, I suggest, is particularly ill suited to some forms of charitable reading. I compare charity to what I call “misreporting” a philosopher’s words, in order to highlight some problematic structural similarities. Finally, I assess what charity might be doing instead, if it is not intended to bridge meaning and best philosophy. (shrink)

This Element explains Nietzsche's ethics in his late works, from 1886 onwards. The first three sections explain the basics of his ethical theory – its context and presuppositions, its scope and its central tension. The next three sections explore Nietzsche's goals in writing a history of Christian morality, the content of that history, and whether he achieves his goals. The last two sections take a broader look, respectively, at Nietzsche's wider philosophy in light of his ethics and at the prospects (...) for a Nietzschean ethics after Nietzsche. (shrink)

The reader of RTP is granted just a few paragraphs before habit is introduced: Habit! That able but slow-moving arranger who begins by letting our minds sufer for weeks on end in temporary quarters, but whom our mind is nonetheless only too happy to fnd, for without it, reduced to its own devices, it would be powerless to make any room habitable. (SW, 9, translation altered; I 8) Implied is a view of mind: powerless to interfere with habit’s course, but (...) equally powerless to reconcile us even to something as innocuous as a room, were it not for habit’s work. Corresponding to this is a view of the world: hostile. The objects are nasty, imposing, menacing: a ‘mentally poisoning’ smell, malicious curtains and a cruel mirror (SW, 9; I 8). Habit, unbidden but welcome, steps in. The mirror becomes compassionate. Habit is a central aspect of the narrator’s worldview. It appears both at major plot points and in signifcant theoretical passages. Proust had already thematised habit in some of his earliest published work – notably in ‘Violante ou la Mondanité’ (1892) (‘Violante, or High Society’) – as well as in unpublished material (see II 1352 fn. 2). His ideas have their roots in his philosophical education, where habit formed a key part of the syllabus. Indeed, in retrospect, we can say that Proust may have been taught philosophy at a time and place where habit, as a philosophical topic, was approaching its high watermark, as a major theme in French philosophical thought. Another major theme, of course, was time. (shrink)

A critical comment on methods in Nietzsche scholarship, and some suggestions about how to improve things.

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.

Proust wrote vividly about grief, but he has not been recognised or studied as a philosopher of grief. It is time that he was. For a powerful and compelling philosophy of grief emerges from the pages of his magnum opus. Though philosophical work on Proust has not turned to this theory of grief, philosophers writing about grief have often drawn on Proust, both explicitly and implicitly, without an awareness of an underlying Proustian theory. This paper fills the gap by placing (...) this philosophically informed, Proustian theory of grief before our eyes. Proust builds on contemporary discussions of habituation (habitude), the process whereby new sensations and new actions become both less salient, intrusive or demanding of our attention, and more crucial for our equilibrium and our continued short-term functioning. Applying this to the social realm, Proust theorises love in terms of habituation to another person, and grief in terms of a sudden inapplicability or unsuitability of our habits to the world that person has left behind, followed by the painful, uneven and intermittent process of habituating to that new world. The paper explains this theory and charts its relation to some contemporary discussions of grief. Doing so places Proust back into a conversation he has already influenced. (shrink)

This chapter looks at Nietzsche's notion of the affirmation of life. It begins with the origins of the concept in Schopenhauer and in the Schopenhauerian philosophy known to Nietzsche. It then examines affirmation in three phases of Nietzsche's writing: early, middle and late. It relates affirmation to other key Nietzschean concepts like the Apollonian and the Dionysian, eternal recurrence, amor fati and will to power.

Readers of Nietzsche are not unfamiliar with the thought that his philosophical writings contain numerous at least apparent contradictions. We begin with one of them. On the one hand, Nietzsche takes pride of place in the canonical parade of theatre-haters. Indeed, he himself demands inclusion: ‘I am essentially anti-theatrical’. This antipathy appears to extend to the actor’s ‘inner longing for a role and mask’. On the other hand, Nietzsche is known as an advocate and admirer of the mask: ‘everything profound (...) loves masks’ reads one of his best-known lines. Mask-wearing, whatever that turns out to be, is not only a social strategy, but also a philosophical or intellectual one, as we shall see. The mask has a variety of associations, of course, but a salient one, for Nietzsche, was its relation to the actor, beginning with its use in Greek tragedy. Thus we seem to find a Nietzsche who on the one hand opposes the theatre and the actor’s role-playing and mask-wearing and, on the other hand, who encourages the mask, which he himself associates with acting and theatre. Of course, this tension has potential implications for our understanding of Nietzsche's antipathy to theatre. To take one example, he seems to connect theatre with lack of honesty, including to oneself (GS 368). And yet some have taken Nietzsche as ‘masking’ his own thoughts, as a means to avoid being honest with himself. This chapter looks in detail at the use of the mask in Nietzsche and at how it relates to questions of sincerity, interpretation and his later, naturalist project. (shrink)

The relationship between philosophy and theatre is a central theme in the writings of Plato and Aristotle and of dramatists from Aristophanes to Stoppard. Where Plato argued that playwrights and actors should be banished from the ideal city for their suspect imitations of reality, Aristotle argued that theatre, particularly tragedy, was vital for stimulating our emotions and helping us to understanding ourselves. Despite this rich history the study of philosophy and theatre has been largely overlooked in contemporary philosophy. This is (...) the first book to introduce philosophy and theatre. It covers key topics and debates, presenting the contributions of major figures in the history of philosophy, including: what is theatre? How does theatre compare with other arts? theatre as imitation, including Plato on mimesis truth and illusion in the theatre, including Nietzsche on tragedy theatre as history theatre and morality, including Rousseau’s criticisms of theatre audience and emotion, including Aristotle on catharsis theatre and politics, including Brecht’s Epic Theatre. Including annotated further reading and summaries at the end of each chapter, Philosophy and Theatre is an ideal starting point for those studying philosophy, theatre studies and related subjects in the arts and humanities. (shrink)

An introduction to Nietzsche's life and works.

The central question in this paper is the following: how does Nietzsche use history in his critique of morality? The answer, in sum: interestingly, not how you (i.e. most Nietzsche scholars) think, and not well enough. My focus is on The Antichrist, not his Genealogy of Morality, which is more commonly used to answer this question. And I look, in particular, at Nietzsche’s use of good, contemporary scholarship on the origins of Judaism. The chapter also examines the so-called 'genetic fallacy', (...) arguing that Nietzsche has a provisional response to it, but that this response leads to further complications. (shrink)

ABSTRACTAmor fati—the love of fate—is one of many Nietzschean terms which seem to point towards a positive ethics, but which appear infrequently and are seldom defined. On a traditional understanding, Nietzsche is asking us to love whatever it is that happens to have happened to us—including all sorts of horrible things. My paper analyses amor fati by looking closely at Nietzsche's most sustained discussion of the concept—in book four of The Gay Science—and at closely related passages in that book. I (...) argue that by ignoring the context in which Nietzsche writes about amor fati in The Gay Science, we are liable to ignore several exegetical and philosophical problems with the traditional understanding of the term. I'll argue for a different interpretation which locates Nietzsche's amor fati within the philosophical project of The Gay Science and which copes better with the objections that plague the traditional view. (shrink)

This paper offers a reading of Thus Spoke Zarathustra, arguing that there is a conflict between Zarathustra's hope for something greater (in the form of the Übermensch) and his conception of the eternal recurrence.

Now that she is old enough to be taken to boring, so-called “cultural” events by her aging, academic relatives, we have just taken Anya to see a performance of Julius Caesar. When it’s over, we discuss the acting, the poetry, the famous lines. At some point, Anya asks: “I wonder if it happened like that?” Anya has not radically misunderstood what we just watched; she did not, for example, rush down and yell at Caesar that he’d better read that scroll. (...) Her question is not uncommon as a response to a history play, from audience members both young and old. It is perfectly intelligible; I would like to give her an answer. Before I sketch some possible answers, it is worth saying something more about Anya’s. (shrink)

In 1819, a ship called Le Rôdeur was carrying enslaved Africans from Bonny Island in modern Nigeria to Guadeloupe. The ship’s crew and its enslaved cargo were s.

Online social networks (OSN) have become a part of our daily lives whether they are used for socialization and communication or to promote business interests. OSN have become an important tool for businesses to advertise, create brand awareness, and promote their products and services. Business use of OSN for advertising purposes is highly reliant on targeted ads which display advertisements to OSN users based on their demographics and use of OSN, apps, and websites. Thus, one of the most valuable commodities (...) of OSN is the population of users and the information they share. To investigate the relationship between OSN site use, use of privacy settings, and how they relate to profile disclosure, a model is built based on the theory of reasoned action and the privacy calculus model. To validate the model, a survey is conducted and the results are analyzed with partial least squares. Risk and benefit were both shown to be significant antecedents of attitude. Both attitude and subjective norm, from the theory of reasoned action model, significantly affected OSN site use, while omitting intentions. OSN site use was significantly related to both profile disclosure and use of privacy settings. Last, use of privacy settings significantly affected profile disclosure. These results imply that use of privacy settings does not decrease the rate of disclosure. Giving users tools to protect their private information is important in protecting the privacy of OSN users, and it will lead to increases in safe disclosure of information helping OSN target ads effectively. (shrink)

When Marcel Proust started to work on In Search of Lost Time in 1908, he wrote this question in his notebook: 'Should I make it a novel, a philosophical study, am I a novelist?' Throughout his famous multi-volume work Proust directly engages several philosophers, and few novels are as thoroughly statured with philosophical themes and concepts as In Search of Lost Time. The Proustian Mind is an outstanding reference source to the rich philosophical range of Proust's work and the first (...) major volume of its kind. Including 30 chapters by an international team of contributors, the volume is divided into seven clear parts: Proust's life and works; metaphysics and epistemology; mind and language; aesthetics; ethics; gender and sexuality; predecessors, contemporaries, and successors. Within these sections key Proustian themes are explored from a philosophical standpoint, including time, the self, memory, imagination, metaphor and meaning, beauty, love, egoism and solipsism and desire. The final section considers Proust in relation to important philosophers such as Schopenhauer, Nietzsche, Bergson, Walter Benjamin, Adorno, Merleau-Ponty, Sartre and Deleuze. The Proustian Mind is essential reading for those studying aesthetics, philosophy of literature, phenomenology and ethics, and will also be of interest to those in literature studying modernism, French literature, and the relationship between literature and philosophy. (shrink)

This essay introduces a Common Knowledge symposium on the relationship between texts (for instance, musical scores or dramatic scripts) and performance in the arts by drawing out its implications for the interpretation of publicly consequential texts (such as constitutions, legal statutes, and canon law). Arguing that judges and clerics could learn much from studying the work of Philip Gossett and other practitioners of textual criticism in the arts, the essay suggests that a wider array of choices exists for legal interpretation (...) than the usual alternative between originalism or literalism, on the one hand, and intuitionism, on the other hand. Contributions to the symposium (titled “Between Text and Performance”) emphasize what Roger Moseley calls “improvisatory fluency in historical idioms,” and this introduction recommends that jurists develop for the law the kind of “ear” that musicians must have when a score invites or demands improvisation. (shrink)

Tom Stern on the problem with the principle of charity as a way to interpret figures in the history of philosophy.

Songs in early modern playbooks—printed books of the plays of Shakespeare and other authors—differ from the surrounding dialogue in a number of ways. They are often in italic though the dialogue tends to be in roman lettering; and they are frequently topped with the heading “Song,” self-evident information that is a statement rather than a stage direction. On other occasions, songs are missing from the text altogether, leaving a stranded heading, “Song,” though no words are supplied at all. This article (...) asks why it is that songs have a different story from their surrounding dialogue. In so doing, it considers how playwrights conveyed their songs to composers and composers conveyed their songs to player-singers. Moments of textual oddity in printed and manuscript plays, it is argued (with numerous examples), are revelatory about performance even when the songs themselves are absent from the text. (shrink)

Friedrich Nietzsche remains one of the most challenging, influential and controversial figures in the history of philosophy. The New Cambridge Companion to Nietzsche provides a comprehensive and up-to-date guide to his most difficult ideas, including the will to power and the affirmation of life, as well as his treatment of truth, science, art and history. An accessible introduction sets out the nineteenth-century background of Nietzsche's life and work. Individual chapters are devoted to significant texts such as The Birth of Tragedy, (...) Thus Spoke Zarathustra, Beyond Good and Evil and The Genealogy of Morality. Other chapters explore major influences such as Wagner and Schopenhauer, as well as examining Nietzsche's reception and investigating his enduring and often divisive legacy. The volume will be valuable for readers seeking to enhance their understanding of Nietzsche's philosophy and of his role in the development of Western thought. (shrink)

A collection of new essays on the philosophy of theatre and the philosophy of drama, combining historical perspectives and new directions.

This book review looks closely at the authors' method of interpretation.

Moral Psychology with Nietzsche, by Brian Leiter. Oxford: OUP, 2019. Pp. x + 198.

Andrew Huddleston’s book sets out a vision of Nietzsche as a philosopher of culture. His approach sheds light on some familiar problems and opens up a new way of thinking about cultural criticism. Nietzsche’s concern, he argues, lies with both the instrumental and final value of both individuals and whole cultures. In terms of the Anglophone secondary literature, this places Huddleston between Leiter, who tends to suggest that individuals are all that matters, and Young, who tends to suggest that communities (...) are all that matters. A repeated claim is that Nietzsche evaluates cultures in a manner that is analogous to the evaluation of art, and much of the book involves exploring the subtleties of what that analogy... (shrink)