C. A. Jones

This dissertation focuses on the misappropriation of Friedrich Nietzsche's works by the ideologists of National Socialism. To facilitate this purpose, special attention will be paid to the use of materials published by his sister that he never intended for publication. Following Friedrich Nietzsche's death in 1900, his sister Elisabeth Forster-Nietzsche took control of his unpublished material. She edited and published several items that her brother had considered mere ramblings. It was not until after World War II that scholars began to realize the extent to which Nietzsche's notebooks had been tampered with, poorly edited, and badly interpreted. One of the direct results of the tampering and poor editing was a text called The Will to Power, compiled from Nietzsche's notes, private material and items retrieved from his discard pile. The Will to Power was edited and controlled by Elisabeth Forster-Nietzsche to comply with her belief in National Socialism and Aryan supremacy. The Will to Power was later used by National Socialism as a philosophical justification for many of its inhumane policies. ;In this dissertation speeches, diaries and other material by Joseph Goebbels, Minister of Propaganda for the Third Reich, are gleaned for specific motifs that reflect those elements of Nazi ideology supposedly drawn from Nietzsche's philosophy. For each excerpted quote or statement, a possible source from Nietzsche's The Will to Power will follow. Other supporting material is presented to illustrate the manner in which Nietzsche's works were applied. The same process is utilized in evaluating others responsible for using Nietzsche's texts to support the ideology of National Socialism. The purpose is to ascertain, as closely as possible, Nietzsche's original intention by placing the misappropriated text back in their original context. Nietzsche intended them to be read on a multiplicity of levels which he developed by constantly shifting from position to counter position. The methodology employed in this dissertation parallels this pattern

Experience offers a reading experience like no other. A heat-sensitive cover by Olafur Eliasson reveals words, colors, and a drawing when touched by human hands. Endpapers designed by Carsten Holler are printed in ink containing carefully calibrated quantities of the synthesized human pheromones estratetraenol and androstadienone, evoking the suggestibility of human desire. The margins and edges of the book are designed by Tauba Auerbach in complementary colors that create a dynamically shifting effect when the book is shifted or closed. When the book is opened, bookmarks cascade from the center, emerging from spider web prints by Tomas Saraceno. Experience produces experience while bringing the concept itself into relief as an object of contemplation. The sensory experience of the book as a physical object resonates with the intellectual experience of the book as a container of ideas. Experience convenes a conversation with artists, musicians, philosophers, anthropologists, historians, and neuroscientists, each of whom explores aspects of sensorial and cultural realms of experience. The texts include new essays written for this volume and classic texts by such figures as William James and Michel Foucault -- Provided by the publisher.

. Many organizations continually search for new business models and ways to conduct business ethically, yet profitably. Kirk Cheyfitz (2003) proclaims that organizations should not waste time trying to create new business models because the rules of commerce never change. Instead of searching for new business models, organizations can improve business practices by looking at different paradigms or mental models for seeing how to build practices that lead to long-term success. The employment elements of wisdom as paradigms for developing sound structures and practices that will encourage management behaviors that are ethical and lead to profitability. First, a theory of wisdom is developed. Then, the elements of wisdom are applied to the design of a general business structure and to refocusing some basic business practices.

The ArgumentIt is often observed by historians of postwar American art that painters and sculptors of the 1960s sought a more mechanized “look” for their art. I argue that the changes reflected in the art have their source in a deeper shift – a shift at the level of production, expressed in new studio practices as well as in the space of the artworks themselves.In the period immediately before, during, and after World War II, the dominant topos of the American artist was that of a solitary genius, alone in his studio, sole witness to the miraculous creation of his art. I demonstrate that artists of the 1960s, against this backdrop of heroic modernism, engaged in a different rhetoric and practice, one based on the models of industry and business. The studio of Andy Warhol, named the “Factory,” is viewed as apodictic of this great change, with its rudimentary assembly line and highly social mode of production.The change in practice instantiated in Warhol's Factory is significant in and of itself, but I argue further that it expressed itself in the “place of knowledge” – the space within Warhol's paintings and objects, and the newly social space in which they signify. The context for that signification thus becomes crucial to our understanding of the “Warhol phenomenon” celebrated in popular and arthistorical texts. The ambivalencies embedded in Warhol's Factory, where the artist's role oscillated between manager and proletarian worker, are seen as a function of their context. Conflicting signals are also broadcast by the works of art, which speak in the dialect of mass production with the accent of the irreplaceably unique.