Babette Babich

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.

With his most famous question, the Being-question, the Seinsfrage — a question essentially and not incidentally obliterated by the tradition of philosophic questioning, Heidegger proposes a phenomenology of questioning. This is not counter to the project of philosophy but it calls us to our own experience as questioners, even as those who ask, who can ask 'Why the why.'(1) For Heidegger, 'only because man is in this way, can he and must he, in each case, say, not only yes or no, but essentially yes and no.'.

The question of Heidegger’s reflections on technology is explored in terms of ‘living with’ technology and including the socio-theoretical notion of ‘entanglement’ towards a review of Heidegger’s understanding of technology and media, including the entertainment industry and modern digital life. I explore Heidegger’s reflections on Gelassenheit by way of the Japanese aesthetic conception of life and of art as wabi-sabi understood with respect to Heidegger’s Gelassenheit as the art of Verfallenheit.

This essay explores the nihilistic coincidence of the ascetic ideal and Nietzsche’s localization of science in the conceptual world of anarchic socialismas Nietzsche indicts the uncritical convictions of modern science by way of a critique of the causa sui, questioning both religion and the enlightenment as well asboth free and unfree will and condemning the “poor philology” enshrined in the language of the “laws” of nature. Reviewing the history of philosophical nihilismin the context of Nietzsche’s “tragic knowledge” along with political readings of nihilism, willing nothing rather than not willing at all, today’s this-worldly and very planetary nihilism includes the virtual loci of technological desire (literally willing nothing) as well as the perpetual and consequently pointless threat of nuclear annihilation and the routine or ordinary annihilation of plant and animal life as of inorganic nature.

Nietzsche's creative and fundamental account of chaos in both its cosmic, universal as well as its humane context, recalls the ancient Greek meaning of chaos rather than its modern, disordered, decadent significance. In this generatively primordial sense, chaos corresponds not to the watery nothingness of Semitic myth or modern, scientific entropy but creative, uncountenancedly abundant potency. And in such an archaic sense, Nietzsche's chaos is a word for both nature and art. Nietzsche's creative conception of chaos equates it with the will to power: as the foundational essence of the world "to all eternity." This same correspondence is also the stylistic prerequisite for creating oneself as a work of art. /// O artigo começa por demonstrar até que ponto a mais fundamental explicação criadora dada por Nietzsche a respeito do caos, em seu contexto tanto cósmico e universal como meramente humano, constitui uma evocação do antigo sentido que Ihe foi dado pelos Gregos, mais do que uma adesão à significação moderna do mesmo, desordenada e decadente. Para Nietzsche, com efeito, o caos em seu sentido generativo mais primordial, não corresponde nem à ambiguidade do nada inerente ao mito semítico nem ao sentido moderno, científico, da entropia, mas sim a uma potência criadora assinalada por uma abundãncia inesgotável Mostra-se, assim, até que ponto, em conformidade com o sentido arcaico do termo, o caos em Nietzsche constitui um nome que se dá tanto à natureza como à arte. Mais, o presente artigo mostra ainda até que ponto a concepqao nietzschiana do caos o transforma em algo equivalente à vontade depoder, ou seja, na essãncia fundadora do mundo " para toda a eternidade". Desta correspondência, aliás, resulta a condição estilistica para que cada um se crie a si mesmo como verdadeira obra de arte.

In a single aphorism in The Gay Science, Nietzsche arrays “The Problem of the Artist” in a reticulated constellation. Addressing every member of the excluded grouping of disenfranchised “others,” Nietzsche turns to the destitution of a god of love keyed to the selfturning absorption of the human heart. His ultimate and irrecusably tragic project to restore the innocence of becoming requires the affirmation of the problem of suffering as the task of learning how to love. Nietzsche sees the eros of art as what can teach us how to make things beautiful, desirable, lovable in the routine truth of reality: “When they are not.” The stumbling block for those of us paralyzed by impotence and frozen in a technological age of anxiety, longing for being not becoming (eternal youth), is that one can never possess but can only win great health, again and again (like erotic desire), because one gives it away again and again as sacrifice or affirmation without reserve: that is to say, with erotic artistry.