Myth,perspective, and affirmation in Nietzsche’s Birth of Tragedy

While the Apollonian and Dionysian in Nietzsche’s Birth of Tragedy are often understood as a rehashing of Schopenhauerian metaphysics, recent accounts have shown that his use of these concepts is at odds with such a metaphysics, interpreting them instead as myths. I follow this insight that Nietzsche is engaging in mythmaking in BT, but I argue that proponents of this view have missed an important dimension of that mythmaking: that Nietzsche presents multiple narratives of Apollo and Dionysus from different perspectives, each of which offers different senses of tragic affirmation. This perspectival feature of BT sheds light on the more formal ‘perspectivism’ articulated in the Third Essay of On the Genealogy of Morals, as Nietzsche uses perspective in both cases to generate an epistemic alternative to the life-denying features of modern science. Thus, the metaphysical discussions of the early Nietzsche are inseparable from the development of a stylistic practice that constitutes a radical rejection of metaphysics for the later Nietzsche, and this style is part of a project of generating a more life-affirming approach to knowledge.     

On the Centrality of Dionysus in Nietzsche’s Philosophy

Despite the widespread influence of Nietzsche’s iconoclastic works on twentieth-century intellectual and literary culture, there has been a surprising lack of academic focus on the parallels between his philosophical trajectory and the anthropological literature on the mysterious god Dionysus. The striking correlations between ancient Dionysian worship with Nietzsche’s oeuvre revalorise the celebration of ecstasy. In Twilight of the Idols, he states that the Dionysian is “beyond pity and terror, to realize in oneself the eternal joy of becoming.” By elucidating some of the mysteries surrounding this enigmatic god, this article aims to re-establish the central importance of Dionysus in Nietzsche’s work, and to suggest that if we are to understand Nietzsche at all, we must first undertake an anthropological reading of Dionysus.     

NIETZSCHE'S RELATION TO HISTORICAL METHODS AND NINETEENTH‐CENTURY GERMAN HISTORIOGRAPHY

Nietzsche is generally regarded as a severe critic of historical method and scholarship; this view has influenced much of contemporary discussions about the role and nature of historical scholarship. In this article I argue that this view is seriously mistaken (to a large degree because of the somewhat misleading nature of Vom Nutzen und Nachtheil der Historie für das Leben). I do so by examining what he actually says about understanding history and historical method, as well as his relation to the founders of modern German historiography (Wolf, Niebuhr, Ranke, and Mommsen). I show, contrary to most expectations, that Nietzsche knew these historians well and that he fundamentally affirmed their view of historical method. What he primarily objected to among his contemporaries was that historical scholarship was often regarded as a goal in itself, rather than as a means, and consequently that history was placed above philosophy. In fact, a historical approach was essential for Nietzsche's whole understanding of philosophy, and his own philosophical project.     

Anatomy of the Superman: Gabriele D’Annunzio’s Response to Nietzsche

This essay explores D’Annunzio’s reception of Nietzsche—particularly his sociopolitical theory and idea of the Übermensch—as dramatized in his novel Le Vergini delle rocce (The Maidens of the Rocks). D’Annunzio’s attitude towards Nietzsche was complicated and contradictory, varying from fascination and rivalry to rejection and negation: rather than a philosopher or master, he saw Nietzsche as a poet and soulmate. Like many writers and artists of fin-de-siècle Europe, D’Annunzio too was attracted by Nietzsche’s elitist social theory and Übermensch, of which he presents his own version especially in Maidens of the Rocks. In the novel, the young aristocrat Claudio Cantelmo aspires to overcome himself. However, the fact that Cantelmo fails to achieve his dream of fathering a New King of Rome, reveals D’Annunzio’s deep skepticism about contemporary Italy as well as his own “decadent” soul.     

Practical Hagiography: James of Voragine’s Sermones and Vita on St Margaret of Antioch

Abstract

In addition to his exceedingly popular Legenda Aurea, James of Voragine wrote in another hagiographical genre: sermons on the saints. The Sermones de sanctis likewise became immediately popular, as his Dominican brothers used James’s model sermons to learn to preach about the saints in a format that would provide the laity with intelligible and practical theological instruction. James’s corpus gives us a rather unusual opportunity to compare the ways in which a single author manipulates multiple hagiographical genres, and his writings on St Margaret of Antioch allow us to explore how a medieval preacher used a historically disputed saint — a dragon-fighter — to provide a practical model of sanctity to his lay audience. I compare the representations of Margaret in James’s sermones and vita, arguing that James adapted certain features of Margaret’s saintly example in the vita to instruct the audience of his sermons about proper Christian virtues and actions. As a point of comparison, I explore a sermon by Évrard of Val des Écoliers in which the Augustinian teaches his audience a practical skill — how to pray — through Margaret’s example.     

Dithyrambs and Ploughshares: The Cycle of Creation and Criticism in Nietzsche's Aesthetics

Pairing Thus Spoke Zarathustra with On the Genealogy of Morality foregrounds tensions between artistic creation and critical interpretation in Nietzsche's work. From The Birth of Tragedy to his genesis of the concept, Will to Power, Nietzsche describes the real, or “what is,” in terms of a creative, form-giving force. We might therefore read Zarathustra—a linguistically experimental, richly allegorical, self-reflexive, modernist prose poem—as the pre-eminent, artistic mode of philosophical expression, at least for Nietzsche. But Zarathustra is followed by a sober Abhandlung (treatise), which professes a scientific goal of “getting to the bottom of things” by uncovering the contingency, origin, and fabricated nature of supposedly eternal, “given” values. These instantiations of Nietzsche-the-artist and Nietzsche-the-critic suggest art's “double” or contradictory nature—a nature that accents its kinship with philosophy. Zarathustra and the Genealogy, read together, hint that the destruction of idols—or de-constructive, critical interpretation more generally—is not just supplemental to, but a necessary moment within the aesthetic itself.     

Nietzsche on Memory and Active Forgetting

This article explores Nietzsche’s approach to the fundamental question of “how to live one’s life”, and more specifically his view of the role of the past in seeking an answer to this question. By discussing Nietzsche’s views of how different nations and cultures relate to their history, I suggest some comparisons with how individuals might do so. Common to both is the relationship between the past as a resource and as a burden: the burden of single events or periods and the burden of the abundance of facts. Key to Nietzsche’s thinking on these questions is his account of the relationship between remembering, promising, and forgetting. He considers “active forgetting” paradoxically as both a form of forgetting and a way of taking full responsibility for the past.     

Nietzsche's magnum opus

Nietzsche did not write a completed magnum opus, a ‘Hauptwerk’, but he planned to do so during at least the last 5 years of his active life. I will show that during and after the writing of Also sprach Zarathustra this was his main aim and ambition. The projected work passed through a number of related phases, of which the much discussed and controversial ‘Will to Power’ was merely one. This intention to write a magnum opus has been denied or almost completely ignored by almost all commentators (and even the many writers of Nietzsche biographies). I will bring attention to this intention, discuss why it has been ignored and show that an awareness of it is important for our understanding of the late Nietzsche's thinking and for determining the value and originality of his late notes. It has been a failure of historians of philosophy, intellectual historians and Nietzsche scholars not to have taken this into consideration and account.     

Josephus' description of the Essenes illustrated by the Dead Sea Scrolls

The essay analyses the notion of ‘purity’ in the early writings of Walter Benjamin, focusing more specifically on three essays written around the crucial year 1921: ‘Critique of Violence’, ‘The Task of the Translator’, and ‘Goethe's Elective Affinities’. In these essays, ‘purity’ appears in the notions of ‘pure means’, ‘pure violence’, ‘pure language’, and, indirectly, the ‘expressionless’. The essay argues, on the one hand, that the ‘purity’ of these concepts is one and the same notion, and, on the other, that it is strongly indebted to, if not a by-product of, Kant's theorisation of the moral act. In order to make this claim, the essay analyses Benjamin's intense engagement with Kant's writings in the 1910s and early 1920s: ‘purity’ is a category strongly connoted within the philosophical tradition in which the young Benjamin moved his first steps, namely Kantian transcendental criticism. The essay argues that the notion of ‘purity’ in Benjamin, though deployed outside and often against Kant's theorisation and that of his followers, and moreover influenced by different and diverse philosophical suggestions, retains a strong Kantian tone, especially in reference to its moral and ethical aspects. Whereas Benjamin rejects Kant's model of cognition based on the ‘purity’ of the universal laws of reason, and thus also Kant's theorisation of purity as simply non empirical and a priori, he models nonetheless his politics and aesthetics around suggestions that arise directly from Kant's theorisation of the moral act and of the sublime, and uses a very Kantian vocabulary of negative determinations construed with the privatives-los and -frei (motiv-frei, zweck-los, gewalt-los, ausdrucks-los, intention-frei, etc). The essay explores thus the connections that link ‘pure means’, ‘pure language’ and ‘pure violence’ to one another and to the Kantian tradition.     

Pleasure: ‘The Choice of Hercules’

In this article I contend that John Stuart Mill’s Utilitarianism has been widely misunderstood, and hence the importance of his philosophical project has been diminished. This misunderstanding arises primarily from misconceptions regarding Mill’s definition of pleasure. However, these misconceptions may be successfully resolved by reflecting on Mill’s educational roots and his commitment to Greco-Roman philosophy. In particular, I hold that a deeper understanding of Mill’s philosophical progenitors (i.e., Aristotle and Epicurus) would lead us to conclude that for Mill the “pleasures” of the Utilitarian project are in the final analysis nothing other than the “pleasures” of the mind and conscience. Thus, by following Mill’s line of reasoning and adhering to some of the salient points of his work, specifically in Chapter 2 of Utilitarianism, we may reach a richer and more nuanced understanding of his impressive philosophical project.     

Did Lenin Refound Marxist Dialectics in 1914?

During the twentieth century a number of competing accounts of Lenin’s theory and practice have sought to reclaim its true meaning from ossification under Stalinism. One account popular today is the Hegelian-Marxist interpretation of Lenin’s Philosophical Notebooks written in 1914 and 1915. According to thinkers such as Raya Dunayevskaya and Kevin Anderson, Lenin’s notebooks on Hegel’s Science of Logic represent a radical break from classical dialectical materialism. For these Hegelian-Marxists, Lenin’s acerbic remarks on Engels’s and Plekhanov’s dialectics reveal him as the forerunner of Georg Lukács and Herbert Marcuse and represent a thoroughgoing reconceptualization of the dialectics of revolution. In this article I submit these arguments to the test of a fine grained textual analysis. I conclude, opposite to the Hegelian-Marxist narrative, that Lenin neither intended to nor accomplished a refoundation of Marxist dialectics in 1914. The notion of quantity-quality leaps Lenin adds to his works from 1914 onwards show him less as an innovator in Marxist philosophy and more as a keeper of the flame of dialectical materialist orthodoxy.     

Sacred Geography,Antiquarianism and Visual Erudition: Benito Arias Montano and the Maps in the Antwerp Polyglot Bible

The final volume of the Polyglot Bible, edited by Benito Arias Montano and printed in Antwerp by Christophe Plantin, was published in 1571–1572. Forming part of the Bible's Apparatus, the volume contains a number of essays, illustrations and maps by Montano relating to questions raised by the biblical text. Montano's maps were a product of his philological training in Oriental languages and exegesis, his profound interest in antiquarianism and geography and his practice of visualizing and tabulating knowledge. He designed his maps both as study aids and as devotional‐meditative devices. Moreover, the maps reflect his wider philosophical outlook, according to which Holy Scripture contains the foundations of all natural philosophy. Montano's case encourages us to re‐examine early modern Geographia sacra in the light of the broader scholarly trends of the period.     

Rethinking historiography and ethnography: Surrealism’s intellectual legacy

ABSTRACT

Taking up Maurice Blanchot’s perceptive claim that “Surrealism remains always of our time”, the essay traces the importance of Surrealism for rethinking the methods of historiography (for Walter Benjamin) and ethnography (for James Clifford) in ways that allow us to appreciate the significance of Surrealism’s intellectual legacy. In his early essays on Surrealism and the monumental, unfinished work, The Arcades Project, Benjamin developed a new historical methodology, what I term surrealist historiography, that sought to uncover the latent dimensions of culture, obscured by the dazzling sheen of progress embedded within conventional historical narrative. If Benjamin found in Surrealism a way to overcome the limitations of a Rankean historicism, the point of departure for Clifford’s essay, “On Ethnographic Surrealism” is the crisis of ethnographic authority precipitated by a postcolonial critique of the discipline of anthropology. Clifford’s aim in this essay is thus to provide a provocative reassessment of Surrealism’s self-reflexive ethnographic spirit and what it might contribute to a refashioning of ethnographic practice as a polyvocal assemblage that holds in tension disparate material realities and aesthetic principles. Surrealism’s intellectual legacy thus lies, as Michel Foucault has claimed, in its path-breaking interdisciplinarity, which is why it continues to be, for Blancot and others, “a brilliant obsession”.     

Thinking with Excerpts: John Locke (1632–1704) and his Notebooks

In his “Méthode nouvelle,” an anonymous article in the Bibliothèque universelle of 1686, John Locke described his way of collecting excerpts in notebooks and retrieving relevant entries. The well-known practice of entering textual passages in commonplace books sits uneasily with Locke's criticism of received opinion and authority. Is it possible that he used any of these notes to think with? I suggest that the conditions for this were provided by Locke's interactions with some of his notes, including those which recorded observations, testimonies and experiments. As well as labelling excerpts and other notes with topical Titles, Locke sometimes added precise bibliographical citations, transferred material across notebooks, interpolated his own signed reflections and queries, and (eventually) dated entries.     

Sex,Fashion, Work: James Joyce and the Late-Victorian Actress

This article considers the presence of three late-Victorian actresses (Mrs Patrick Campbell, Eleonora Duse, and Sarah Bernhardt) in the work of James Joyce. The first appears in Joyce’s short story ‘A Mother’ (Dubliners). The strong influence of the other two is also detectable in the characterization of Ulysses’ heroines, Gerty MacDowell and Molly Bloom, and in a seminal text of late modernism, Finnegans Wake. In ‘A Mother’, Joyce’s attention to the importance of fashion on the stage and to poor working conditions for female performers calls to mind the career of Mrs Patrick Campbell. In Ulysses, Gerty’s performance in ‘Nausicaa’ recalls the techniques of the Ibsenian actress Eleonora Duse, known especially for her blushing; I argue that, given this famous skill and Joyce’s fascination with her, Duse directly informs Gerty’s characterization. Finally, Molly Bloom’s repertoire of dramatic references, including Trilby, Lillie Langtry, Sarah Bernhardt, publicity photographs, and Pineroticism, suggests Joyce’s immersion in a late-Victorian dramatic world. After sketching these connections in detail, I show that his interest in these actresses encourages scholars to continue to question the validity of traditional periodization boundaries. I end by arguing that the appearance of these actresses in these examples of early, high, and late modernism indicates the cultural richness of the long nineteenth century for Joyce, which continues throughout modernism’s successive phases.     

James Connolly on stage: history,imagination, and interpretations

James Connolly (1868–1916) has been an underrepresented figure in Irish history, despite the fact that he was one of the signatories of the Proclamation of the Irish Republic. The controversy surrounding Connolly centres mostly on his questionable role in this radical nationalist siege, even though he had been one of the most prolific Marxist theorists of his day. Interestingly, Connolly’s political ambivalence has yielded plenty of scope for the imagination of playwrights in envisaging his final few days before he was executed by the British government. Their theatrical conjectures – backed by archival research to varying degrees – allow audiences different alternatives for learning about, interpreting, assessing, or even celebrating, the legacy of this controversial Marxist. Most importantly, they are able to look beyond the selectiveness of historians in re-creating Connolly as a material figure. The three plays under discussion are Margaretta D’Arcy and John Arden’s The Non-stop Connolly Show (1975), Larry Kirwan’s Blood (1993), and Terry Eagleton’s The White, the Gold and the Gangrene (1993).     

James Arbuckle and Dean Swift: cultural politics in the Irish confessional state

James Arbuckle, born a Presbyterian in Belfast, educated at Glasgow University, moved to Dublin under the patronage of the radical Whig Viscount Molesworth. He arrived at the time of Swift's triumph as ‘The Drapier’. Writing under the name ‘Hibernicus’, he produced a series of essays in the style of Addison's Spectator (1725–26). They can be read as a ‘polite’ Whig critique of Swift's Irish writing, particularly on confessional division. Arbuckle was clearly identified as a political opponent of Swift in a series of lampoons from Swift's circle. He wrote more incisively against the confessional state in his 1729 work The Tribune, lost to historians because of a mistaken attribution to Swift's friend Delany. This article will study Arbuckle's critique of Swift, aiming to give an insight into cultural conflict, both Whig/Tory and Anglican/Presbyterian in a period when both Whig and Presbyterian views have generally been overlooked.     

Nietzsche and the Stoic Concept of Recentes Opiniones

In the context of the well-established importance of Nietzsche’s engagement with Stoic thought for his work as a whole, this article seeks to make two claims. First, that the Mausoleum reference in Lecture 4 of “On the Future of Our Educational Institutions” constitutes a substantial engagement with the Stoic doctrine of recentes opiniones as presented in Cicero’s Tusculan Disputations; and second, that this reference taken in its textual and intertextual context, constitutes a critique of the Stoic views of time and of the relationship of nature and culture. In so doing, the article seeks to contribute to the wider issues of Nietzsche’s views on naturalism, fatalism, desirability, and culture.