Babette Babich

Beginning with Jürgen Habermas's 1968 reflection on Nietzsche's criticisms of knowledge and science, the essays in this volume engage Nietzsche's challenge to the Frankfurt School tradition of critical theory as well as other social and political theories of modernity and postmodernity. Juxtaposing Habermas and Nietzsche for the sake of the "future" of critical theory, the essays in this collection draw variously on Marx and Weber as well as Horkheimer and Adorno, Benjamin, Foucault, and others. The distinguished authors in this book argue that critical theory is best served by responding to challenges such as those associated with identity politics and globalization and including an authentic engagement with Nietzsche. This important volume features contributions by Babette E. Babich, Karin Bauer, Howard Caygill, Rebecca Comay, Fred Dallmayr, Josef Früchtl, Jürgen Habermas, Dominique Janicaud, Alexander Nehamas, David Owen, Max Pensky, Holger Schmid, Tracy B. Strong, James Swindal, and Bernhard Taureck.

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.

This article argues that the limited influence of Ludwik Fleck's ideas on philosophy of science is due not only to their indirect dissemination by way of Thomas Kuhn, but also to an incommensurability between the standard conceptual framework of history and philosophy of science and Fleck's own more integratedly historico-social and praxis-oriented approach to understanding the evolution of scientific discovery. What Kuhn named "paradigm" offers a periphrastic rendering or oblique translation of Fleck's Denkstil/Denkkollektiv , a derivation that may also account for the lability of the term "paradigm". This was due not to Kuhn's unwillingness to credit Fleck but rather to the cold war political circumstances surrounding the writing of The Structure of Scientific Revolutions . Following a discussion of Fleck's anatomical allusions, I include a brief discussion of Aristotle (on menstruation and darkened mirrors) and conclude with a reference to the productivity of error in Mach and Nietzsche.

It is well-known that as a term, Nietzsche’s Übermensch derives from Lucian of Samosata’s hyperanthropos. I argue that Zarathustra’s teaching of the overman acquires new resonances by reflecting on the context of that origination from Lucian’s Kataplous – literally, “sailing into port” – referring to the soul’s journey, ferried by Charon, guided by Hermes, into the afterlife. The Kataplous he tyrannos, usually translated Downward Journey or The Tyrant, is a Menippean satire telling the tale of the “overman” who is imagined to be superior to others of “lesser” station in this-worldly life and the same tyrant after his (comically unwilling) transport into the underworld. As a reflection on the life and the death of Zarathustra, this essay also explores the politics of kingship for Empedocles as reformer in terms of Hölderlin’s Death of Empedocles and Nietzsche’s unpublished drafts on the same topic. In Thus Spoke Zarathustra, Nietzsche points to a perspective beyond the here and now, beyond the “values” of our all-too-worldly and all-too-human concerns, no matter whether in terms of perceived political/economic advantage, or indeed in the pursuit of more quotidian satisfactions.

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.

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

Continental philosophy of science has developed alongside mainstream analytic philosophy of science. But where continental approaches are inclusive, analytic philosophies of science are not–excluding not merely Nietzsche’s philosophy of science but Gödel’s philosophy of physics. As a radicalization of Kant, Nietzsche’s critical philosophy of science puts science in question and Nietzsche’s critique of the methodological foundations of classical philology bears on science, particularly evolution as well as style (in art and science). In addition to the critical (in Mach, Nietzsche, Heidegger but also Husserl just to the extent that continental philosophy of science tends to depart from a reflection on the crisis of foundations), other continental philosophies of science include phenomenology (Husserl, Bachelard, Merleau‐Ponty, etc.) and hermeneutics (Heidegger, Gadamer, Heelan, etc.), especially incorporating history of science (Nietzsche, Mach, Duhem, Butterfield, Feyerabend, etc.). Examples are drawn from the philosophy of sciences (chemistry, geology, and biology) other than physics.

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

Fleck's Genesis and Development of a Scientific Fact foregrounds claims traditionally excluded from reception, often regarded as opposed to fact, scientific claims that are increasingly seldom discussed in connection with philosophy of science save as examples of pseudoscience. I am especially concerned with scientists who question the epidemiological link between HIV and AIDS and who are thereby discounted—no matter their credentials, no matter the cogency of their arguments, no matter the sobriety of their statistics—but also with other classic examples of so-called pseudoscience including homeopathy and other sciences, such as cold fusion. The pseudoscience version of the demarcation problem turns out to include some of the details that Latour articulates multifariously under a variety of species or kinds in his essay/interactive research project/monograph, ‘Biography of an Investigation’. Given the economic constraints of the current day, especially in the academy, the growing trend in almost all disc..