Andrea Rehberg

Nietzsche's early work on culture and tragedy proved influential on subsequent art and aesthetics; the relation between the Apollonian and Dionysian is central to this work. However, that relation is widely misunderstood, especially in its connection to Nietzsche's conceptions of Socrates and modernity. This paper contributes to the rectification of misunderstandings by demonstrating the proper way of understanding these relations. The analysis proceeds by way of a phenomenological treatment of the distinctive structure of the Apollonian. The analysis is reinforced by showing how Nietzsche's later work on the nature of cultural production and change reflects and depends upon it.

This dissertation seeks to substantiate the thesis that Nietzsche's physiological thinking constitutes a radicalisation of Kantian critique. To this end it attempts to mark out some of the salient points of the latter project and to examine the ways in which it falls short of its own potential radicality. In chapters one and two the categories of relation - in which Kant articulates his theory of the temporal connection of phenomena explicitly - are traced through the Analytic and Dialectic of the Critique of Pure Reason and are read against the Deduction of the Pure Concepts of the Understanding which implicitly contains another theory of time. Since the Critique of the Teleological Faculty of Judgement complements Kant's theory of the temporal cohesion of phenomena, the third chapter offers a reading of it under the aspect of its relation to the wider project of critique. Chapter four draws together the multiple strands around which Kantian critique can be shown to mutate into Nietzsche's philosophical physiology and the theory of temporality implicit in it. Finally, Nietzschean physiology is presented in terms of his thinking of the becoming of matter, in terms of the will to power as eternal recurrence