The fifteen essays, written by such eminent scholars as Derrida, Heidegger, Deleuze, Klossowski, and Blanchot, focus on the Nietzschean concepts of the Will to Power, the Overman, and the Eternal Return, discuss Nietzsche's style, and deal with the religious implications of his ideas. Taken together they provide an indispensable foil to the interpretations available in most current American writing.

In this long-awaited volume, David B. Allison argues for a 'generous' approach to Nietzsche's writings, and then provides comprehensive analyses of Nietzsche's The Birth of Tragedy, The Gay Science, On the Genealogy of Morals, and Thus Spoke Zarathustra. Unique among other books on Nietzsche, Allison's text includes individual chapters devoted to Nietzsche's principal works. Historically-oriented and continentally-informed, Allison's readings draw on French and German thinkers, such as Heidegger, Battaille, Derrida, Birault, and Deleuze, while the author explicitly resists the use of jargon that frequently characterizes those approaches. Reading the New Nietzsche is an outstanding resource for those reading Nietzsche for the first time as well as for those who wish to know him better.

As a young man growing up near Basel, Jung was fascinated and disturbed by tales of Nietzsche's brilliance, eccentricity, and eventual decline into permanent psychosis. These volumes, the transcript of a previously unpublished private seminar, reveal the fruits of his initial curiosity: Nietzsche's works, which he read as a student at the University of Basel, had moved him profoundly and had a lifelong influence on his thought. During the sessions the mature Jung spoke informally to members of his inner circle about a thinker whose works had not only overwhelmed him with the depth of their understanding of human nature but also provided the philosophical sources of many of his own psychological and metapsychological ideas. Above all, he demonstrated how the remarkable book Thus Spake Zarathustra illustrates both Nietzsche's genius and his neurotic and prepsychotic tendencies. Since there was at that time no thought of the seminar notes being published, Jung felt free to joke, to lash out at people and events that irritated or angered him, and to comment unreservedly on political, economic, and other public concerns of the time. This seminar and others, including the one recorded in Dream Analysis, were given in English in Zurich during the 1920s and 1930s.

Table of Contents Preface Introduction 1: Descartes and the Deceiver God 2: Descartes and the Origin of the Absolute I 3: Fichte and the Dark Night of the Noumenal I 4: The Dawn of the Demonic: Romanticism and Nihilism 5: The Demons Unbound: Russian Nihilism and the Pursuit of the Promethean 6: From the Demonic to the Dionysian 7: Dionysus and the Triumph of Nihilism Epilogue List of Abbreviations Notes Index.

An introduction to Nietzsche's political thinking, which traces the development of his thinking on politics from his early writings to the mature work where he advocates aristocratic radicalism as opposed to petty European nationalism. Key ideas - the will

Friedrich Nietzsche’s intellectual autobiography Ecce Homo has always been a controversial book. Nietzsche prepared it for publication just before he became incurably insane in early 1889, but it was held back until after his death, and finally appeared only in 1908. For much of the first century of its reception, Ecce Homo met with a sceptical response and was viewed as merely a testament to its author’s incipient madness. This was hardly surprising, since he is deliberately outrageous with the ‘megalomaniacal’ self-advertisement of his chapter titles, and brazenly claims ‘I am not a man, I am dynamite’ as he attempts to explode one preconception after another in the Western philosophical tradition. In recent decades there has been increased interest in the work, especially in the English-speaking world, but the present volume is the first collection of essays in any language devoted to the work. Most of the essays are selected from the proceedings of an international conference held in London to mark the centenary of the first publication of Ecce Homo in 2008. They are supplemented by a number of specially commissioned essays. Contributors include established and emerging Nietzsche scholars from the UK and USA, Germany and France, Portugal, Sweden and the Netherlands.

Following Nietzsche's call for a philosopher-physician and his own use of the bodily language of health and illness as tools to diagnose the ailments of the body politic, this book offers a reconstruction of the concept of political physiology in Nietzsche's thought, bridging gaps between Anglo-American, German and French schools of interpretation.

Nietzsche: Naturalism and Interpretation offers a resolution of one of the most vexing problems in Nietzsche scholarship. As perhaps the most significant predecessor of more recent attempts to formulate a postmetaphysical epistemology and ontology, Nietzsche is considered by many critics to share this problem with his successors: How can an antifoundationalist philosophy avoid vicious relativism and legitimate its claim to provide a platform for the critique of arguments, practices, and institutions? Christoph Cox argues that Nietzsche successfully navigates between relativism and dogmatism, accepting the naturalistic critique of metaphysics and theology provided by modern science, yet maintaining that a thoroughgoing naturalism must move beyond scientific reductionism. It must accept a central feature of aesthetic understanding: acknowledgment of the primacy and irreducibility of interpretation. This view of Nietzsche's doctrines of perspectivism, becoming, and will to power as products of an overall naturalism balanced by a reciprocal commitment to interpretationism will spur new discussions of epistemology and ontology in contemporary thought.

Nietzsche's New Seas makes available for the first time in English a representative sample of the best recent Nietzsche scholarship from Germany, France, and the United States. Michael Allen Gillespie and Tracy B. Strong have brought together scholars from a variety of disciplines—philosophy, history, literary criticism, and musicology—and from schools of thought that differ both methodologically and ideologically. The contributors—Karsten Harries, Robert Pippin, Eugen Fink, Hans-Georg Gadamer, Kurt Paul Janz, Sarah Kofman, Jean-Michel Rey, and the editors themselves—take a new approach to Nietzsche, one that begins with the claim that his enigmatic utterances can best be understood by examining the style or structure of his thought.

"Around 1900, a small group of influential patrons, critics, writers, and artists turned Weimar, the capital of the small Duchy of Sachsen-Weimar-Eisenach in present-day Germany, into a utopian centre of modern art and thought. Artists like Max Klinger, Edvard Munch, and Ludwig von Hofmann, and writers like André Gide, Hugo von Hofmannsthal, and Rainer Maria Rilke sought to create a 'New Weimar and position Friedrich Nietzsche at its head as the radical prophet of modernity. Nietzsche's profound thinking, expressive language, and poignant aphoristic style made him the ideal philosopher of modernism. It is only as an aesthetic phenomenon that existence and the world are eternally justified. With philosophical maxims, such as this from The Birth of Tragedy, Nietzsche became an extraordinary influence on artists and critics in their search for a 'new art,' a 'new man,' and, ultimately, a 'new society.' In 1902, two years after the philosopher's death, Max Klinger was commissioned to carve his portrait for the Villa Silberblick in Weimar, where the cult of Nietzsche was organized. Starting from a heavily reworked death mask, he executed the famous marble herm that still today adorns the reception room of the Nietzsche Archive. Only three monumental bronze versions were cast, one of which is now in the collection of the National Gallery of Canada. With this sculpture in focus, accompanied by a series of paintings, drawings, plaster casts, and small bronzes, 'Radical Modernism' will show how Klinger and his patrons invented the 'official' Nietzsche, transforming a highly expressionist portrait into an idealized classical cult image."--publisher.