scholarly journals Natural Selection, Levelling, and Eternal Recurrence

2021 ◽  
Vol 36 (1) ◽  
pp. 139-158
Author(s):  
Sven Gellens ◽  
Benjamin Biebuyck

Ovaj se rad bavi aktualnom raspravom o Nietzscheovoj vezi s darvinizmom, usmjeren na posebno značenje Nietzscheova integrativnog razmatranja evolucije u njegovim spisima. Istražujući rječnik evolucije u njegovim raspravama o volji za moć i kriticizmu Malthusova pojma prilagodbe, radom se tvrdi da je takozvana anti-darvinistička pozicija u Nietzscheovim kasnim spisima dio njegova obuhvatnog pokušaja da nadiđe uske granice strogo anatomskobiološkog ili društveno-darvinističkog pojma evolucije. Da Nietzsche to čini služeći se biologijskim rječnikom pokazuje njegova revnost u kartiranju utjecaja bioloških i kulturnih sila na ljudsku evoluciju. Radom se aktualna rasprava o kulturi i evoluciji želi smjestiti u širu povijesnu perspektivu. Istovremeno, želi doprinijeti i boljem razumijevanju Nietzscheove filozofijske antropologije, a posebno, njegove mijenjajuće ideje o slabosti i snazi, o intelektu i vječnom vraćanju istoga kao principu selekcije – ideje koje je Nietzsche razvio u nastojanju da nadiđe tradicionalnu podjelu tijela i uma.

1979 ◽  
Vol 34 (3) ◽  
pp. 274-275
Author(s):  
David Chiszar ◽  
Karlana Carpen

1998 ◽  
Vol 43 (4) ◽  
pp. 263-264
Author(s):  
Joseph F. Rychlak

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters

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.


Author(s):  
Vanessa Lemm

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.


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