Babette Babich

This essay is dedicated to elaborating some of the stylistic elements at work in Nietzsche's polemical book, On The Genealogy of Morals with particular attention to the nature of the aphorism from its inception in ancient Greek literaure, Nietzsche's specific deployment of the aphorism as such, including Nietzsche's argument structure and rhetorical technique as well as the language of Greek and Jewish antiquity, master and slave. In: Christa Davis Acampora, ed., Nietzsche’s On the Genealogy of Morals: Critical Essays (Lanham, Md., Rowman & Littlefield, 2006), pp. 177-190.

This essay revisits Meyer Schapiro’s critique of Heidegger’s interpretation of Van Gogh’s painting of a pair of shoes in order to raise the question of the dispute between art history and philosophy as a contest increasingly ceded to the claim of the expert and the hegemony of the museum as culture and as cult or coded signifier. Following a discussion of museum culture, I offer a hermeneutic and phenomenological reading of Heidegger’s ‘Origin of the Work of Art’ and conclude by taking Heidegger’s discussion of the strife between earth and world to the site of the ancient temple of Apollo Epicurius at Bassae as an example of the insistent foreclosure of the ancient work of art and the conflicts of the pervasive efforts of modern conservation.

Nietzsche, Epistemology, and Philosophy of Science, is the second volume of a collection on Nietzsche and the Sciences, featuring essays addressing truth, epistemology, and the philosophy of science, with a substantial representation of analytically schooled Nietzsche scholars. This collection offers a dynamic articulation of the differing strengths of Anglo-American analytic and contemporary European approaches to philosophy, with translations from European specialists, notably Carl Friedrich von Weizsäcker, Paul Valadier, and Walther Ch. Zimmerli. This broad collection also features a preface by Alasdair MacIntyre. Contributions explore Nietzsche's contributions to the philosophy of language and epistemology, and include essays on the social history of truth and the historical and cultural analyses of Serres and Baudrillard, as well as new contributions to the philosophy of science, including theological and hermeneutical approaches, history of science, the philosophy of medicine, cognitive science, and technology.

Excerpt“Philosophy is metaphysics”1—so Heidegger reminds us and goes on to explain what metaphysics does. As we recall his 1929 inaugural lecture, “What is Metaphysics?” the project of questioning/defining metaphysics is one he undertakes throughout his life, so that as we read in 1964: “Metaphysics thinks beings as a whole—the world, man, God—with respect to Being, with respect to the belonging together of beings in Being.”2 In addition to Descartes, and hence with implicit reference to Husserl, Heidegger's moves follow Kant on metaphysics in each of the cases noted above. They do so, first, in negative detail, as Kant reflects in…

The question of the contemporary relevance of Heidegger’s reflections on technology to today’s advanced technology is here explored with reference to the notion of “entanglement” towards a review of Heidegger’s understanding of technology and media, including the entertainment industry and modern digital life. Heidegger’s reflections on Gelassenheit have been connected with the aesthetics of the tea ceremony, disputing the material aesthetics of porcelain versus plastic. Here by approaching the art of wabi-sabi as the art of Verfallenheit, I argue that Gelassenheit may be understood in these terms.

This essay explores Nietzsche’s visit to Orta, including his visit with Lou von Salomé to Sacro Monte. Yet there are two Sacri Monti, one at Orta and one, some distance away, at Varallo. Lou reports that Nietzsche described this visit as the «most charming dream» [entzückendsten Traum] of his life and scholars have concluded that this dream refers to Nietzsche’s erotic moment – just a kiss – with Lou. This essay argues for a hermeneutico-phenomenological consideration of the locus itself: featuring nearly a dozen (doubled that number at Varallo) architecturally unique oratories and hundreds of brilliantly painted, nearly life-size statues set in landscape designed to recreate the particular atmosphere of the Mediterranean world, both Jerusalem and Athens, transposed to the north of Italy. This “weather” would have captivated the Nietzsche who worked on the intersection between what texts tell us about antiquity and the world, the “barest hem of which”, as he once put it, we cannot begin to touch.

The discipline of musicology, like the word itself which the Oxford English Dictionary dates only back to 1909 (or even 1915), is a twentieth-century, specifically Anglo-American, institution echoing the tradition of French musicologie and with analogies to German Musikwissenschaft. As a modern and ineluctably postmodern project, musicology derives from a predominantly Austro-German generation of scholars who translated a continentally European tradition of analysis (Heinrich Schenker and, in London, Donald Francis Tovey and Hans Keller) and formal music theory (routinely articulated by then-contemporary new composers: Arnold Schoenberg, Rudolf Réti, and Theodor Adorno, as well as Karl-Heinz Stockhausen and Pierre Boulez) into English language university contexts.

Nietzsche's discovery of the "breath" or spirit of music in the words of Greek tragedy was his testament to oral culture in antiquity and it is significant that his theoretical account of the prosody of ancient Greek endures to this day. Drawing little emaphatic resonance from his readers, Nietzsche reprised yet another tradition of poetic song composition, namely the art of the troubadours in order to rearticulate his argument in The Gay Science. I here explore the passion of the 'knightly art', of poetic song and explore in addition Nietzsche's conception of Wissenschaft. The art of poetry was less an antiquarian rhetorical concept than a practical guide for those of us who seek to be "the poets of our lives".Mit der Enteckung des Geistes oder 'Artems' der Musik in den Worten der grichischen Tragödie deutete Nietzsche die orale Kultur in der Antike auf eine neue Weise. Bisher wurden diese Entdeckung und ihre Konsequenzen für Verständnis der modernen Kultur aber kaum beachtet. Die Abhandlung untersuchtd Nietzsches Auffassung der 'gaya scienza' am Beispiel des Troubadours und der mit ihm verbundenen, jedoch verlorengegangenen mündlichen Tradition von poetischer oder liedhafter Komposition. Nietzsches Deutung der Leidenschaft der ritterlichen Gesangskunst wird en einen Zusammenhang mit seiner Auffassung von Wissenschaft gebracht, und diese wird mit der provençalischen scienza sowie der englischen und französischen science verglichten.

Si Nietzsche, se référant à la philosophie morale de Kant, put invoquer ceux « qui promettent sans en avoir les moyens » et dérider le « menteur qui trahit sa parole dans le moment même où il l’a sur les lèvres », un examen de l’éthique de l’assistance de Heidegger souligne, de son côté, que nous nous trouvons toujours déjà dans l’assistance envers les autres, même si ce n’est que de manière négative ou défectueuse. En parcourant le chemin qui nous mène vers l’éthique de l’assistance chez Heidegger, nous aurons à discuter de la condition humaine chez Heidegger, de l’amitié, et aussi de lacets de soulier, de football, des anges, et du désire – et, pourquoi pas, du café.