To understand how subjects are constructed socially and historically in terms of power, and how they act through power on others and on themselves, but not to see this as a purely random process or activity where ‘anything goes’, or conversely, portray ethical actions in terms of fixed universal rules or specified teleological ends, constitutes the objective of this book. What a normative Foucault can offer us, I claim, is a critical ethics of the present that is well and truly beyond Kant, Hegel. and Marx, and which can guide action and conduct for the twenty-first century.
appear in German Quarterly); ‘The Elisabeth Legend or Sibling Scapegoating: The
Cleansing of FriedrichNietzsche and the Sullying of His Sister’, (to be published in
Nietzsche: Godfather of Fascism?: On the Uses and Abuses of Philosophy (eds) Jacob
Golomb and Robert S. Wistrich (Princeton: Princeton University Press)).
This problem admittedly can apply to any text, but which is more central in relation to
Nietzsche than many authors because of the history of his reception.
Schopenhauer seems to have been most inﬂuenced by Schelling’s 1809 essay on human
A reassessment of the relationship between Der Blaue Reiter and Die
96 Kirchner, Chronik, p. 24.
97 Kandinsky and Marc (eds), The Blaue Reiter Almanac, pp. 83–9.
98 R. Lenman, Artists and Society in Germany, 1850–1914 (Manchester: Manchester University
Press, 1997). p. 141.
99 R. Long, ‘Kandinsky’s Vision of Utopia as a Garden of Love’, Art Journal, 43:1 (1983), p. 54.
100 Ibid., p. 53.
101 FriedrichNietzsche, Thus Spoke Zarathustra, ‘On the Gift-Giving Virtue’, in The Portable
Nietzsche, ed. and trans. Walter Kaufmann (New York: Viking Penguin, 1954), p. 188.
The chapter situates Dada historically in the wider context of pre-1914 avant-garde art and thought across Europe, referring to the works of artists such as Kandinsky or Russolo and thinkers such as Friedrich Nietzsche or Walter Benjamin. It traces the shift from a utopian to a dystopian vision, from the glorification of war’s destructive forces to Dada’s exposure of the war as absurd. It argues that if the Dadaists adopted a rhetoric of war and violence, it was to pervert it in the promotion of their own global revolt in the face of the machinery of destruction. The chapter develops an analysis of Zurich Dada’s activities at the Cabaret Voltaire and the Galerie Dada, focusing on George Grosz’s poems, Marcel Janco’s masks, and Sophie Taeuber’s dances and puppets.
This chapter demonstrates how the development of Jean-Luc Godard's thinking about cinema have constantly mirrored wider trends in continental thought. The phenomenological method of Godard's early films interrogated the relationship between language and the reality perceived through our senses, the director's innovative approach to sound and image repeatedly questioning the nature of representation and its ability to circumscribe the real. Godard's cinema accompanied the renewal of Marxist thought in France, from Michel Debord's critique of spectacle, through Michel Foucault's analysis of power, to the determined unpacking of the harsh realities of postmodernism by the likes of Jean-Francois Lyotard. Godard followed philosophers such as Georges Bataille and Gilles Deleuze, in a tradition of thought inherited from Friedrich Nietzsche, in denouncing the nihilism of a society that smothers the vitality of life beneath the reifying discourse of truth, and in defending desire against the curmudgeonly categories of psychoanalysis.
The reductionist assumptions that lead to the idea of folk psychology themselves involve serious methodological problems which are shown up by arguments from the aesthetic tradition. The ideas about the role and nature of self-consciousness from Immanuel Kant to the Romantics suggest that attempts to explicate subjectivity in the terms used to explain objective nature will themselves fall prey to the problems of reflection. Theodor W. Adorno is an apt figure to invoke in the context because, in the wake of Friedrich Nietzsche, he thinks, as does Martin Heidegger, that the ills of modernity are rooted in the attempt by the subject to dominate the world of objects. Richard Rorty characterises the development of modernity in terms of how the 'public', problem solving resources of natural science and 'projects of social cooperation' become separate from 'private' projects of self-development, in which he includes 'romantic art' and, possibly, religion.
Switzerland, the stateless and independent FriedrichNietzsche was
writing in the east of that uniquely neutral country, in Sils-Maria, where
he concluded in preliminary thoughts on the genealogy of morals how
‘[t]he will to truth requires a critique – let us thus define our own task
– the value of truth must for once be experimentally called into question’.5 Well, it is no more than good fortune that this physical proximity
between colic freeloader and catatonic philosopher can be established
– I will have recourse to the obvious point that Cravan was no philosopher
Introduction and method
Great star what was thy happiness if thou shineth for no one? (FriedrichNietzsche, 1888: 5)1
‘Today is Freedom day’ thundered the headline in the Independent, a British
newspaper, on 1 May 1997. The perplexing headline was followed by a no
less mystifying quote: ‘The English people believes itself to be free: it is
gravely mistaken; it is free only during the election of MPs; as soon as the
Members are elected the members are enslaved.’ The quote was followed
by the name J-.J. Rousseau. On the day when the Labour Party was about
. 9 If a common theme runs through Egoists and The Pathos of Distance , it is the concept of egotism. Huneker traces it back to Stendhal whose Souvenirs d’égotisme he discusses before establishing an egotist genealogy by linking Stendhal to Joris-Karl Huysmans via Max Stirner and FriedrichNietzsche. Huneker allows us to make sense of the connection between modernism and decadence recently explored by Vincent Sherry. 10 He praises the work and personality of those he calls ‘supermen’: William Blake, Charles Baudelaire, Gustave Flaubert, Anatole France