•  74
    Strangers to Ourselves: Self-Knowledge in Nietzsche's Genealogy
    Journal of Nietzsche Studies 50 (2): 250-271. 2019.
    There is a wide scholarly consensus that Nietzsche's GM contains two principal projects. First, GM aims to explain—historically and psychologically—how some of morality's central strands emerged and evolved into their contemporary forms; and, second, GM aims to provide a critical assessment of the value of morality itself. Brian Leiter captures this consensus when he writes, "By investigating the origin of morality Nietzsche hopes to undermine morality or, more precisely, to loosen the attachmen…Read more
  •  54
    Sublimity and the Ends of Reason: Questions for Deligiorgi
    Journal of Aesthetics and Art Criticism 74 (2): 195-199. 2016.
    The sublime has come under severe criticism in recent years. Jane Forsey, for instance, has argued that all theories of the sublime “rest on a mistake”. In her article, “The Pleasures of Contra-purposiveness: Kant, the Sublime, and Being Human,” Katerina Deligiorgi () provides a rejoinder to Forsey. Deligiorgi argues—with the help of Kant—that a coherent theory of the sublime is possible, and she provides a sketch for such a theory. Deligiorgi makes good progress in the debate over the sublime. …Read more
  •  23
    Nietzsche in the Office: The Aesthetic Justification of Capitalist Realism
    The Jounral of Aesthetics and Art Criticism. forthcoming.
    In this paper, I provide an interpretation of the American mockumentary-styled sitcom, The Office (2005– 2013), as an instance of what Nietzsche calls an “aesthetic justification” of life. The Office offers an aesthetic justification of the life of lower-tiered North American white-collar workers under neoliberalism. The Office performs this function via an implicit endorsement of what Mark Fisher (2009) calls capitalist realism, or the idea that “it’s easier to imagine the end of the world than…Read more
  •  6
    Nietzsche in The Office: the aesthetic justification of capitalist realism
    Journal of Aesthetics and Art Criticism 82 (3): 290-301. 2024.
    ABSTRACT In this paper, I provide an interpretation of the American mockumentary-styled sitcom, The Office (2005–2013), as an instance of what Nietzsche calls an “aesthetic justification” of life. The Office offers an aesthetic justification of the life of lower-tiered North American white-collar workers under neoliberalism. The Office performs this function via an implicit endorsement of what Mark Fisher (2009) calls capitalist realism, or the idea that “it’s easier to imagine the end of the wo…Read more