Epilogue

Author(s):  
Karol Berger

The Epilogue returns to the philosophical issues raised in the Prologue, but narrows the focus to a single relationship, that of Richard Wagner with his most important critic, Friedrich Nietzsche. The chapter describes the history of the relationship between the two, analyzes the philosopher’s essential objections against the composer, evaluates their validity, and suggests how Wagner’s works might defend themselves against Nietzsche’s strictures.

PhaenEx ◽  
2011 ◽  
Vol 6 (1) ◽  
pp. 121
Author(s):  
NANDITA BISWAS MELLAMPHY

In 1971, Wolfgang Müller-Lauter introduced his study of Nietzsche as an investigation into the history of modern nihilism in which “contradiction” forms the central thread of the argument. For Müller-Lauter, the interpretive task is not to demonstrate the overall coherence or incoherence of Nietzsche’s philosophy, but to examine Nietzsche’s “philosophy of contradiction.” Against those such as Karl Jaspers, Karl Löwith and Martin Heidegger, Müller-Lauter argued that contradiction is the foundation of Nietzsche’s thought, and not a problem to be corrected or cast aside for exegetical or political purposes. For Müller-Lauter, contradiction qua incompatibility (not just mere opposition) holds a key to Nietzsche’s affective vision of philosophy. Beginning with the relationship between will to power and eternal recurrence, in this paper I examine aspects of Müller-Lauter’s account of Nietzsche’s philosophy of contradiction specifically in relation to the counter-interpretations offered by two other German commentators of Nietzsche, Leo Strauss and Karl Löwith, in order to confirm Müller-Lauter’s suggestion that contradiction is indeed an operative engine of Nietzsche’s thought. Indeed contradiction is a key Nietzschean theme and an important dynamic of becoming which enables the subject to be revealed as a “multiplicity” (BGE §12) and as a “fiction” (KSA 12:9[91]). Following Müller-Lauter’s assertion that for Nietzsche the problem of nihilism is fundamentally synonymous with the struggle of contradiction experienced by will to power, this paper interprets Nietzsche’s philosophy of contradiction in terms of subjective, bodily life (rather than in terms of logical incoherences or ontological inconsistencies). Against the backdrop of nihilism, the “self” (and its related place holder the “subject”), I will argue, becomes the psycho-physiological battlespace for the struggle and articulation of “contradiction” in Nietzsche’s thought.  


1986 ◽  
Vol 20 ◽  
pp. 195-195
Author(s):  
Michael Tanner

Friedrich Nietzsche (1844–1900) was born in the village of Röcken, in Prussian Saxony, the son and grandson of Lutheran ministers. He studied theology and classical philosophy at the University of Bonn, but in 1865 he gave up theology and went to Leipzig. Then he discovered the composer Richard Wagner and the philosophers Schopenhauer and F. A. Lange (author of History of Materialism and Critique of its Present Significance, 1866). He won a prize for an essay on Diogenes Laertius, the biographer of ancient Greek philosophers, and was appointed associate professor of classical philology at Basel, when he was only twenty-four. He became a full professor the following year. His principle writings between then and 1879, when illness made him resign from the university, were The Birth of Tragedy (1872) and Human, All Too Human (1878). After his resignation his principal writings were Daybreak (1881), The Gay Science (1882), Thus Spoke Zarathustra (Parts 1 and 2 published 1883, Part 3 published 1884, Part 4 issued privately 1885, published 1892), Beyond Good and Evil (1886), On the Genealogy of Morals (1887), The Wagner Case (1888) and Twilight of the Idols (1888). Nietzsche became insane in January 1889, and vegetated until his death in 1900. His madness was probably tertiary syphilis, which he may have contracted while ministering to sick soldiers in 1870 as a medical orderly in the Franco-Prussian war.


1986 ◽  
Vol 20 ◽  
pp. 195-195

Friedrich Nietzsche (1844–1900) was born in the village of Röcken, in Prussian Saxony, the son and grandson of Lutheran ministers. He studied theology and classical philosophy at the University of Bonn, but in 1865 he gave up theology and went to Leipzig. Then he discovered the composer Richard Wagner and the philosophers Schopenhauer and F. A. Lange (author of History of Materialism and Critique of its Present Significance, 1866). He won a prize for an essay on Diogenes Laertius, the biographer of ancient Greek philosophers, and was appointed associate professor of classical philology at Basel, when he was only twenty-four. He became a full professor the following year. His principle writings between then and 1879, when illness made him resign from the university, were The Birth of Tragedy (1872) and Human, All Too Human (1878). After his resignation his principal writings were Daybreak (1881), The Gay Science (1882), Thus Spoke Zarathustra (Parts 1 and 2 published 1883, Part 3 published 1884, Part 4 issued privately 1885, published 1892), Beyond Good and Evil (1886), On the Genealogy of Morals (1887), The Wagner Case (1888) and Twilight of the Idols (1888). Nietzsche became insane in January 1889, and vegetated until his death in 1900. His madness was probably tertiary syphilis, which he may have contracted while ministering to sick soldiers in 1870 as a medical orderly in the Franco-Prussian war.


2010 ◽  
Vol 12 (2) ◽  
pp. 173-194 ◽  
Author(s):  
Alexander Carpenter

This paper examines the history of the trope of psychoanalytic therapy in musical dramas, from Richard Wagner to Kurt Weill, concluding that psychoanalysis and the musical drama are, in some ways, companions and take cues from each other, beginning in the mid-19th century. In Wagner's music dramas, psychoanalytic themes and situations – specifically concerning the meaning and analysis of dreams – are presaged. In early modernist music dramas by Richard Strauss and Arnold Schoenberg (contemporaries of Freud), tacit representations of the drama of hysteria, its aetiology and ‘treatment’ comprise key elements of the plot and resonate with dissonant musical soundscapes. By the middle of the 20th century, Kurt Weill places the relationship between analyst and patient in the foreground of his musical Lady in the Dark, thereby making manifest what is latent in a century-spanning chain of musical works whose meaning centres, in part, around representations of psychoanalysis.


Paleobiology ◽  
1980 ◽  
Vol 6 (02) ◽  
pp. 146-160 ◽  
Author(s):  
William A. Oliver

The Mesozoic-Cenozoic coral Order Scleractinia has been suggested to have originated or evolved (1) by direct descent from the Paleozoic Order Rugosa or (2) by the development of a skeleton in members of one of the anemone groups that probably have existed throughout Phanerozoic time. In spite of much work on the subject, advocates of the direct descent hypothesis have failed to find convincing evidence of this relationship. Critical points are:(1) Rugosan septal insertion is serial; Scleractinian insertion is cyclic; no intermediate stages have been demonstrated. Apparent intermediates are Scleractinia having bilateral cyclic insertion or teratological Rugosa.(2) There is convincing evidence that the skeletons of many Rugosa were calcitic and none are known to be or to have been aragonitic. In contrast, the skeletons of all living Scleractinia are aragonitic and there is evidence that fossil Scleractinia were aragonitic also. The mineralogic difference is almost certainly due to intrinsic biologic factors.(3) No early Triassic corals of either group are known. This fact is not compelling (by itself) but is important in connection with points 1 and 2, because, given direct descent, both changes took place during this only stage in the history of the two groups in which there are no known corals.


Crisis ◽  
2016 ◽  
Vol 37 (4) ◽  
pp. 265-270 ◽  
Author(s):  
Meshan Lehmann ◽  
Matthew R. Hilimire ◽  
Lawrence H. Yang ◽  
Bruce G. Link ◽  
Jordan E. DeVylder

Abstract. Background: Self-esteem is a major contributor to risk for repeated suicide attempts. Prior research has shown that awareness of stigma is associated with reduced self-esteem among people with mental illness. No prior studies have examined the association between self-esteem and stereotype awareness among individuals with past suicide attempts. Aims: To understand the relationship between stereotype awareness and self-esteem among young adults who have and have not attempted suicide. Method: Computerized surveys were administered to college students (N = 637). Linear regression analyses were used to test associations between self-esteem and stereotype awareness, attempt history, and their interaction. Results: There was a significant stereotype awareness by attempt interaction (β = –.74, p = .006) in the regression analysis. The interaction was explained by a stronger negative association between stereotype awareness and self-esteem among individuals with past suicide attempts (β = –.50, p = .013) compared with those without attempts (β = –.09, p = .037). Conclusion: Stigma is associated with lower self-esteem within this high-functioning sample of young adults with histories of suicide attempts. Alleviating the impact of stigma at the individual (clinical) or community (public health) levels may improve self-esteem among this high-risk population, which could potentially influence subsequent suicide risk.


Author(s):  
Jesse Schotter

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.


Author(s):  
Ted Geier

Covers the long history of the Smithfield animal market and legal reform in London. Shows the relationship of civic improvement tropes, including animal rights, to animal erasure in the form of new foodstuffs from distant meat production sites. The reduction of lives to commodities also informed public abasement of the butchers.


2020 ◽  
Vol 22 (3) ◽  
pp. 330-343
Author(s):  
Fabio Camilletti

It is generally assumed that The Vampyre was published against John Polidori's will. This article brings evidence to support that he played, in fact, an active role in the publication of his tale, perhaps as a response to Frankenstein. In particular, by making use of the tools of textual criticism, it demonstrates how the ‘Extract of a Letter from Geneva’ accompanying The Vampyre in The New Monthly Magazine and in volume editions could not be written without having access to Polidori's Diary. Furthermore, it hypothesizes that the composition of The Vampyre, traditionally located in Geneva in the course of summer 1816, can be postdated to 1818, opening up new possibilities for reading the tale in the context of the relationship between Polidori, Byron, and the Shelleys.


2019 ◽  
Vol 49 (1) ◽  
pp. 90-104
Author(s):  
Robert Kiely

A world-ecological perspective of cultural production refuses a dualist conception of nature and society – which imagines nature as an external site of static outputs  – and instead foregrounds the fact that human and extra-human natures are completely intertwined. This essay seeks to reinterpret the satirical writing of a canonical figure within the Irish literary tradition, Brian O'Nolan, in light of the energy history of Ireland, understood as co-produced by both human actors and biophysical nature. How does the energy imaginary of O'Nolan's work refract and mediate the Irish environment and the socio-ecological relations shaping the fuel supply-chains that power the Irish energy regime dominant under the Irish Free State? I discuss the relationship between peat as fuel and Brian O'Nolan's pseudonymous newspaper columns, and indicate how questions about energy regimes and ecology can lead us to read his Irish language novel An Béal Bocht [The Poor Mouth] (1941) in a new light. The moments I select and analyze from O'Nolan's output feature a kind of satire that exposes the folly of separating society from nature, by presenting an exaggerated form of the myth of nature as an infinite resource.


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