Nietzsche’s Heraclitean Doctrine of the Eternal Recurrence of the Same

2021 ◽  
Vol 50 (1) ◽  
pp. 70-101
Author(s):  
Paul S. Loeb
Keyword(s):  
Eternal Recurrence ◽  
Ecce Homo

Abstract There is a long and successful scholarly tradition of commenting on Nietzsche’s deep affinity for the philosophy of Heraclitus. But scholars remain puzzled as to why he suggested at the end of his career, in Ecce Homo, that the doctrine he valued most, the eternal recurrence of the same, might also have been taught by Heraclitus. This essay aims to answer this question through a close examination of Nietzsche’s allusions to Heraclitus in his first published mention of eternal recurrence in The Joyful Science and in a related set of notes from the period when he was formulating and defending his doctrine of eternal recurrence while writing Thus Spoke Zarathustra. The key to answering this question, it is argued, is that Nietzsche came to believe that the doctrine of eternal recurrence, when properly understood as requiring identical repetition, has to presuppose a Heraclitean reality of eternal, absolute, and universal flux.

Nietzsche’s Heraclitean Doctrine of the Eternal Recurrence of the Same

2021 ◽  
Vol 50 (1) ◽  
pp. 70-101
Author(s):  
Paul S. Loeb
Keyword(s):  
Eternal Recurrence ◽  
Ecce Homo

Abstract There is a long and successful scholarly tradition of commenting on Nietzsche’s deep affinity for the philosophy of Heraclitus. But scholars remain puzzled as to why he suggested at the end of his career, in Ecce Homo, that the doctrine he valued most, the eternal recurrence of the same, might also have been taught by Heraclitus. This essay aims to answer this question through a close examination of Nietzsche’s allusions to Heraclitus in his first published mention of eternal recurrence in The Joyful Science and in a related set of notes from the period when he was formulating and defending his doctrine of eternal recurrence while writing Thus Spoke Zarathustra. The key to answering this question, it is argued, is that Nietzsche came to believe that the doctrine of eternal recurrence, when properly understood as requiring identical repetition, has to presuppose a Heraclitean reality of eternal, absolute, and universal flux.

scholarly journals Dichten an der Stelle des Denkens. Bemerkungen zur Genese des Gesangs im dritten Teil von Nietzsches Zarathustra

2018 ◽  
Vol 47 (1) ◽  
pp. 49-69
Author(s):  
Felix Christen
Keyword(s):  
Final Section ◽  
Narrative Coherence ◽  
Eternal Recurrence ◽  
The Third ◽  
Also Sprach Zarathustra ◽  
Ecce Homo ◽  
Definition Of ◽  
The Relationship ◽  
Insight Into

Abstract Poetry in lieu of thinking. Reflections on the genesis of song in the third part of Nietzsche’s Zarathustra. The chapter Von der grossen Sehnsucht opens the final section of Nietzscheʼs Also sprach Zarathustra with a speech in which Zarathustra invites his soul to sing and in which he starts to sing himself. Based on Nietzscheʼs own late interpretation in Ecce homo, this article focuses on the narrative coherence and poetic logic of the chapter Von der grossen Sehnsucht. While the address to the soul can be understood as a soliloquy that corresponds to the definition of thinking in Platoʼs Sophistes, the chapter Von der grossen Sehnsucht also allows insight into the relationship between thinking and writing. Von der grossen Sehnsucht, after all, follows the chapter Der Genesende, in which Zarathustraʼs animals talk to him about eternal recurrence. Moreover, the invitation to sing anticipates the Dionysos-Dithyramben: the address to the soul is followed by Das andere Tanzlied and the Ja-und Amen-Lied, which Nietzsche describes as a dithyramb. As such, the chapter Von der grossen Sehnsucht introduces dithyrambic poetry.

Revaluations through Dance: Friedrich Nietzsche's Thought in Isadora Duncan's Speech The Dance of the Future

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Eternal Recurrence ◽  
Early Twentieth Century ◽  
Starting Point ◽  
The Future ◽  
The Mind

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.

Friedrich Nietzsche

2018 ◽  
Author(s):  
Vanessa Lemm
Keyword(s):  
Friedrich Nietzsche ◽  
Michel Foucault ◽  
Gilles Deleuze ◽  
Georges Bataille ◽  
Giorgio Agamben ◽  
Eternal Recurrence ◽  
German Philosopher ◽  
Point Of Reference

Readers of Giorgio Agamben would agree that the German philosopher Friedrich Nietzsche (1844–1900) is not one of his primary interlocutors. As such, Agamben’s engagement with Nietzsche is different from the French reception of Nietzsche’s philosophy in Michel Foucault, Gilles Deleuze and Georges Bataille, as well as in his contemporary Italian colleague Roberto Esposito, for whom Nietzsche’s philosophy is a key point of reference in their thinking of politics beyond sovereignty. Agamben’s stance towards the thought of Nietzsche may seem ambiguous to some readers, in particular with regard to his shifting position on Nietzsche’s much-debated vision of the eternal recurrence of the same.

Ecce Homo or the written body

1985 ◽  
Vol 7 (1-2) ◽  
pp. 3-24
Author(s):  
Rodolphe Gasché
Keyword(s):  
Ecce Homo

scholarly journals Unamuno on making oneself indispensable and having the strength to long for immortality

2021 ◽  
Author(s):  
Adam Buben
Keyword(s):  
Human Behavior ◽  
Basic Material ◽  
Eternal Recurrence ◽  
Proper Understanding ◽  
Material Substance

AbstractUnamuno believes that longing for immortality is what motivates nearly all of human behavior. Unfortunately, in a world in which many people despair of ever achieving true personal immortality, we increasingly turn to what he calls mere “shadows of immortality” for comforting ideas about how our names, energy, or basic material substance will carry on in our absence. Unamuno advocates fighting against such despair, staying out of the shadows, and longing for personal immortality even when it seems impossible. Unamuno’s approach to this issue resembles, in a few significant ways, Kierkegaard’s struggle for the cultivation of subjective selfhood. At the same time, it also runs afoul of Nietzsche’s derisive claims about immortality-seekers. Whereas Nietzsche sees longing for immortality as a sign of being too weak to make the most of mortal life, the more Kierkegaardian Unamuno counters that it is a sign of strong appreciation for life to demand, without surrender, that there be more of it. Given the proper understanding of Nietzsche’s claims about the eternal recurrence, I think he and Unamuno might not be quite as far apart as it initially seems. However, exploring the latter’s critique of the former suggests an intriguing way of seeing the contemporary analytic debate about the desirability of immortality. Building on Unamuno’s position, one could argue that pessimism about the value of immortality is actually indicative of a flawed character and an impoverished relationship with life.

scholarly journals ‘How to become what you are’: Self-becoming and individuation in Nietzsche’s Ecce Homo and Hesse’s Demian and Steppenwolf

2021 ◽  
Vol 51 (1) ◽  
pp. 3-23
Author(s):  
Thomas Crew
Keyword(s):  
Human Being ◽  
The Status ◽  
Ecce Homo ◽  
The Individual

In this essay I consider the theme of individuation or self-becoming in Nietzsche’s Ecce Homo (1888) and Hesse’s Demian (1917) and Steppenwolf (1927). Although this task appears inter-disciplinary, Nietzsche’s autobiography can be considered a Bildungsroman in which ‘Nietzsche’ plays the protagonist. After showing the correspondences between Nietzsche’s and Hesse’s diagnoses of contemporary Europe, which can be summed up with the notion of ‘decadence’ or nihilism, I suggest that they both point towards the process of self-becoming as the ultimate remedy for both the individual and society. Self-becoming is a painful yet necessary process that holds the repeated destruction of the individual’s identity as the precondition for attaining the status of human being. It is a process implied by Nietzsche’s ‘formula for human greatness’: amor fati. Resistance to individuation leads to a state of ‘miserable ease’, embodied by what Hesse calls the ‘bourgeois’ and what Nietzsche terms the ‘last men’.

Friedrich Nietzsches Ecce homo (Turin 1888–Leipzig 1908)

2018 ◽  
Vol 25 (1) ◽  
pp. 389-414
Author(s):  
Antonio Morillas ◽  
Jordi Morillas
Keyword(s):  
Ecce Homo

“Beholding the Man”: Viewing (or is it Marking?) John’s Trial Scene alongside Kitsch Art

2016 ◽  
Vol 24 (2) ◽  
pp. 245-264
Author(s):  
Andrew P. Wilson
Keyword(s):  
Two Dimensional ◽  
Devotional Art ◽  
The People ◽  
Subject And Object ◽  
Ecce Homo ◽  
Small Stories ◽  
John's Gospel ◽  
Relationship Of ◽  
The Relationship ◽  
Point Of Departure

One of the grand scenes of the Passion narratives can be found in John’s Gospel where Pilate, presenting Jesus to the people, proclaims “Behold the man”: “Ecce Homo.” But what exactly does Pilate mean when he asks the reader to “Behold”? This paper takes as its point of departure a roughly drawn picture of Jesus in the “Ecce Homo” tradition and explores the relationship of this picture to its referent in John’s Gospel, via its capacity as kitsch devotional art. Contemporary scholarship on kitsch focuses on what kitsch does, or how it functions, rather than assessing what it is. From this perspective, when “beholding” is understood not for what it reveals but for what it does, John’s scene takes on a very different significance. It becomes a scene that breaks down traditional divisions between big and small stories, subject and object as well as text and context. A kitsch perspective opens up possibilities for locating John’s narrative in unexpected places and experiences. Rather than being a two-dimensional departure from the grandeur of John’s trial scene, kitsch “art” actually provides a lens through which the themes and dynamics of the narrative can be re-viewed with an expansiveness somewhat lacking from more traditional commentary.


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