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Nietzsches Lyrik. Archilochus, Musik, Metrik, Babette Babich

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No abstract provided.

The ‘New’ Heidegger, Babette Babich

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If discussion of “new” approaches to Martin Heidegger contradicts Heidegger’s own indictment of the passion for “novelty” in philosophy, today’s Black Notebooks scandal reminds us of the ontic problem of new news. Indeed the backwards working evidence of the notebooks kept before, during, and after WWII both vindicates and problematizes his notion of temporality temporalizing from the future -- lapsing into the past -- setting up what is now regarded as patent in the present. Simultaneously, we see that if heretofore many philosophers of technology sought to dismiss engagement with Heidegger’s critique of technology, these critical contributions turn out to …

Nietzsche’S Zarathustra And Parodic Style: On Lucian’S Hyperanthropos And Nietzsche’S Übermensch, Babette Babich

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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 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) …

Future Past: The Gay Science, Thus Spoke Zarathustra And Eternity Or What Is The Weight Of The Greatest Heavy Weight?, Babette Babich

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No abstract provided.

On Nietzsche’S Judgment Of Style And Hume’S Quixotic Taste: On The Science Of Aesthetics And ‘Playing’ The Satyr, Babette Babich

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This essay reviews Nietzsche’s discussion of scholarly judgments of style beginning with his own inaugural lecture at Basel together with David Hume’s stylistic reflections in Hume's “On the Standard of Taste.” This casts light both on the context and the substance of Nietzsche’s own scholarly concern with the question of style and taste in terms of what Nietzsche called the “science of aesthetics” and consequently of scholarly judgment in both classics (or classical philology, here including archaeology and historiography) and philosophy. I also include a brief discussion of Nietzsche’s phenomenological performance practice of dance or playing the “satyr.”

The Birth Of Kd Lang’S Hallelujah Out Of The ‘Spirit Of Music’: Performing Desire And ‘Recording Consciousness’ On Facebook And Youtube, Babette Babich

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No abstract provided.

The Philosopher And The Volcano, Babette Babich

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Nietzsche's Zarathustra echoes Empedocles' as orator or speaker especially if reviewed in terms of Empedocles' esoteric Katharmoi or Purifications. This essay reads Zarathustra teaching of the eternal return of the same as the teaching of going to ground, that is: death and rebirth, arguing that death is present at the start and already at work in the section entitled The Adder's Bite. Indeed it is the explicit subtext of the overman.

Like Empedocles, Nietzsche's Zarathustra tells us that the human being is something that should be overcome. and thus it makes a difference that we hear Zarathustra proclaim this teaching …

Le Zarathoustra De Nietzsche Et Le Style Parodique. A Propos De L’Hyperanthropos De Lucien Et Du Surhomme De Nietzsche, Babette Babich

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Abstract

Nietzsche’s Übermensch is derived from Lucian of Samosata’s term hyperanthropos. I argue that Zarathustra’s teaching of the overman acquires new resonances in the context of that terminological origination in Lucian’s Kataplous — literally: sailing into port — referring to the journey of the soul into the afterlife, as escorted by Hermes and ferried by Charon along with myriads of others facing the same fate. The Kataplous he tyrannos, a title usually rendered as the Downward Journey (or The Tyrant), is a Menippean satire telling the tale of the “overman” supposed superior to others of “lesser” station in …

Zu Nietzsches Statuen: Skulptur Und Das Erhabene, Babette Babich

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Metaphern aus dem Feld der Bildhauerein kommen überraschend oft bei Nietzsche vor: von der Statue als einem Ideal von Unweglichkeit ebenso wie von der Skulptur als einer Metapher der Selbst-Darstellung, bis hin zu Nietzsches ikonoklastischer Klärung: wie mit dem Hammer zu philosophieren sei.

In Bezug auf die griechische Platik sowie Nietzsche’s Texte argumentiert die Autorin mit Nietzsche gegen eine damals und noch heute weit verbreitete Auffassung, wonach wir solche Statuen fast unvermeidlich aus einem jüdisch-christlichen Gesichtspunkt betrachten. Außerdem geht sie besonders ein auf Nietzsches Beschwörung der Skulptur in dem Zarathustra-Abschnitt Von den Erhabenen.

"Thus Spoke Zarathustra" Or Nietzsche And Hermeneutics In Gadamer, Lyotard, And Vattimo, Babette Babich

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Apart from reading Nietzsche's words on his characterization as an educator in suspicion with some suspicion, what does Nietzsche offer hermeneutics? This essay takes up this question by talking about the politics of interpretation, hermeneutics, and genealogy. In the process, we can address Lyotard's enthusiastic fealty to technology and offer yet once more requiem for the postmodern, understood here through (and hence contra) Lyotard as the simulacrum of communication that is the internet.

Le Sort Du Nachlass : Le Problème De L’Œuvre Posthume, Babette Babich

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Discussion of Heidegger's Nachlass as composed in the wake of his editorial experience working on the edition of Nietzsche's works. Issues explored include the role of the editor (or editors) in the work of an author (reception, legitimation, etc.) Features a discussion of the distinctive aspects of the different language versions of Nietzsche's Will to Power first in German, then in French, then in English. Text is in French.

Please use this citation:

Babette Babich, «Le sort du Nachlass : le problème de l’œuvre posthume», in : Pascale Catherine Hummel, ed., Mélivres / Misbooks. Études sur l’envers et les travers …

Greek Bronze: Holding A Mirror To Life, Expanded Reprint From The Irish Philosophical Yearbook 2006: In Memoriam John J. Cleary 1949-2009, Babette Babich

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To explore the ethical and political role of life-sized bronzes in ancient Greece, as Pliny and others report between 3,000 and 73,000 such statues in a city like Rhodes, this article asks what these bronzes looked like. Using the resources of hermeneutic phenomenological reflection, as well as a review of the nature of bronze and casting techniques, it is argued that the ancient Greeks encountered such statues as images of themselves in agonistic tension in dynamic and political fashion. The Greek saw, and at the same time felt himself regarded by, the statue not as he believed the statue divine …

Zu Nietzsches Stil, Babette Babich

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Das Thema von Nietzsches Stil ist hier sowohl von Bedeutung als Frage nach dem Wesen jenes Stils wie auch als Frage danach, was er in philosophischer, nicht einfach in asthetischer oder literarischer Hinsicht erreicht hat. Hier wird nachgelegt, dass die Kunst des Lesens, die technische Kunst des hörens als eine Art des Hörens in einer philosophischen Seinsweise zu verstehen sei. Damit setzt sie nicht allein eine diskursive Kunst musikalischen Gespürs seitens des schreibenden, sondern eigentlich auch seitens des Lesenden voraus. Untersucht wird vor allem, Nietzsches Aphorismos im Rahmen des Antisemitismus. Diese außerordentlich komplexe innere Ausrichtung von Nietzsches Stil ist die …

Who Is Zarathustra’S Nietzsche?, David B. Allison

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With the appearance of Thus Spoke Zarathustra and the work immediately following that — particularly, in Book Five of The Gay Science and in the 1886 Prefaces to the Second Edition of his works, there emerges a remarkably transformed sense of Nietzsche’s own self-awareness, a turn, based on his own autocritique, that basically works as a form of self-therapy — enabling him to grasp the really binding purchase the social symbolic has on the individual. In submitting himself to this autocritique, he first raises the question as to its possiblity, and then proceeds to effectuate it in a rather …

Words In Blood, Like Flowers: Philosophy And Poetry, Music And Eros In Hölderlin, Nietzsche, And Heidegger, Babette Babich

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No abstract provided.

Between Hölderlin And Heidegger: Nietzsche’S Transfiguration Of Philosophy, Babette Babich

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No abstract provided.

Future Philology! By Ulrich Von Wilamowitz-Moellendorff - Translated By G. Postl, B. Babich, And H. Schmid, Babette Babich

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Ulrich von Ulrich von Wilamowitz-Möllendorff's

FUTURE PHILOLOGY! a reply to FRIEDRICH NIETZSCHE’S Ordinarius Professor of Classical Philology at Basel „birth of tragedy“

Translated by Gertrude Postl, Babette E. Babich, and Holger Schmid (Greek and Latin translations by Babette Babich and Holger Schmid. Additional corrections to the Greek by James I. Porter and Alexander Nehamas)

Nietzsche And Eros Between The Devil And God’S Deep Blue Sea: The Problem Of The Artist As Actor–Jew–Woman, Babette Babich

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In just one aphorism in The Gay Science, Nietzsche arrays “The Problem of the Artist” in a complex, highly 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 self- or inward-turning 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 …

Nietzsche And The Condition Of Postmodern Thought; Post-Nietzschean Postmodernism, Babette Babich

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No abstract provided.