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'Beyond good & evil' interpretations
'Beyond good & evil' interpretations
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Dostoevsky and Nietzsche's Overman
The definition of übermensch, or overman, in Barron's Concise Student's Encyclopedia makes anyone who has read Nietzsche's Zarathustra - even aphoristically, as I tried to do at first - cringe. Barron's Encyclopedia defines an overman as someone who "has his act together and gets things done." Of course, considering that this is a summary of one part of Nietzsche's ideas, and that the encyclopedia reduces his entire philosophy to one short paragraph, this is not a poor definition. But it eliminates parts of Nietzsche's concept of the overman, or superman, which are essential to an understanding of this idea.
Walter Kaufmann provides a detailed analysis of Nietzsche's philosophy in his work Nietzsche: Philosopher, Psychologist, Antichrist, a book which Thomas Mann called "a work of great superiority over everything previously achieved in Nietzsche criticism and interpretation." Kaufmann outlines several essential characteristics of the overman throughout the work. Perhaps the most important, and most central, characteristic of the overman is that the overman is one who has overcome his nature as a normal man. "Man is something that shall be overcome" is a phrase that occurs throughout Nietzsche's Thus Spoke Zarathustra, a work which (it seems to me) most completely developed the idea of the overman of all of Nietzsche's books. (Zarathustra, I, Preface, 3)
For Nietzsche, the vast majority of people have no value. This is repeated by Walter Kaufmann several times throughout his Nietzsche. At one point, Kaufmann, explaining Nietzsche, states that man's inherent value is "zero," and states that only a few people have any value at all; in Kaufmann's words, "the gulf se...
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...s. Walter Kaufmann. New York: Viking, 1954.
Kaufmann, Walter. Nietzsche: Philosopher, Psychologist, Antichrist, Fourth Edition. Princeton, New Jersey: Princeton University Press, 1974.
Mann, Thomas, quoted on the back cover of Walter Kaufmann's Nietzsche.
Nietzsche, Friederich. Beyond Good and Evil. Trans. Walter Kaufmann. New York: Vintage, 1966.
Nietzsche, Friederich. The Birth of Tragedy. Trans. Clifton P. Fadiman. New York: Dover, 1995.
Nietzsche, Friederich. The Dawn, quoted in Kaufmann's Nietzsche.
Nietzsche, Friederich. The Gay Science in The Portable Nietzsche. Ed. and trans. Walter Kaufmann. New York: Viking Press, 1958.
"Nietzsche, Friederich" in Barron's Concise Student's Encyclopedia. 1993.
Nietzsche, Friederich. Thus Spoke Zarathustra in The Portable Nietzsche. Ed. and Trans. Walter Kaufmann. New York: Viking, 1954.
Nietzsche, Friedrich, and Walter Kaufmann. The Gay Science: With a Prelude in Rhymes and an Appendix of Songs : Translated, with Commentary by Walter Kaufmann. New York: Random, 1974. Print.
However, Nietzsche’s idea of the powerful forcing their will on common people resonates with me. It is something we see in our modern society, wealthy people seem to have a higher influence over the average American. Examples of powerful people controlling others are found in politics, economy, media, and religion. Common people are lead to think in certain ways that the powerful need them to. Nietzsche said that people will only be equal as long as they are equal in force and talent, people who have a higher social group are more influential in decisions because average people look to them for information. The thing I do not agree with Nietzsche on his view as Christianity as a weakness because religion is a main cause of people’s decision
From The Birth of Tragedy, where Wagner's music represented the hope for the re-birth of pre-Socratic Greek culture to The Case of Wagner, where Wagner was the artist of German decadence par excellence, Richard Wagner always personified nineteenth century Germany for Nietzsche. By examining Nietzsche's relationship to Wagner throughout his writings, one is also examining Nietzsche's relationship to his country of birth. In this paper, I carry out such an investigation with a focus on the late period (the writings after Thus Spoke Zarathustra) in order to clarify Nietzsche's view of his own project regarding German (and by extension European) culture. I show that in the late period Nietzsche created a portrait of Wagner in which the composer was a worthy opponent; meaning someone with whom Nietzsche disagreed but viewed as an equal. Nietzsche himself took on several worthy opponents, and he claimed that in his battle with "these objects of resistance" he learned about himself. Wagner was such an object of resistance because he represented the disease of decadence which plagued the culture and from which Nietzsche emphasized his overcoming. The goal of this portraiture was to demonstrate on an individual level what could be done on a cultural level to revitalize the culture and make it healthy.
Madigan, P. The Modern Project to Rigor: Descartes to Nietzsche. Landham: UP of America, 1986.
New York: Vintage Books, 1966. Nietzsche, Friederich. A. & Co. Beyond Good and Evil? Trans. Walter Kaufmann.
Madigan, P. The Modern Project to Rigor: Descartes to Nietzsche. Landham: UP of America, 1986.
He also has a continuing theme of his work being premature. This theme comes from his strong ego believing that the reason that he is not widely read is because his ideas are too revolutionary to be understood. "But it would contradict my character entirely if I expected ears and hands for my truths today: that today one doesn't hear me and doesn't accept my ideas is not only understandable, it seems right to me" (715). His continual focus on the stupidity of Germans becomes irritating after a while. "To think German, to feel German-I can do anything, but not that" (719).
September 10, 2009. Cambridge Critical Guide to Nietzsche’s On the Genealogy of Morality, Simon May, ed., 2010. Available at SSRN: http://ssrn.com/abstract=1473095>. Nietzsche, Friedrich.
The Impact of the New Deal on the United States The Great Depression, an era of great poverty, misery, and
On Truth and Lies in a Nonmoral Sense, Nietzsche. United States of America: Bedford/St.Martin's, 2001. 1171-1179. Print
Friedrich Nietzsche, The Will to Power, trans. Walter Kaufmann and R. J. Hollingdale, ed. Walter Kaufmann (New York: Random House, 1967).
Jung, C. G., and Marie-Luise Von Franz. Man and His Symbols. Garden City, NY: Doubleday, 1964.
Wyatt, C. (2010). Friedrich Nietzsche. In Tameri Guide for Writers. Retrieved December 6, 2010, from http://www.tameri.com/csw/exist/nietzsche.shtml
Nietzsche, Friedrich. "Human, All Too Human by Friedrich Nietzsche: From the Soul of Artists and Writers." Classic Authors.net / Great Literature Online. Web. 18 Feb. 2011. .
In William Shakespeare’s play, “Hamlet”, It is quite evident that Polonius, King Claudius, Rosencrantz and Guildenstern are all two faced. The theme of appearance versus reality is shown multiple times in the play through these characters. Polonius, King Claudius, Rosencrantz and Guildenstern all first appear to be honest and sincere. As the play continues, each character’s true self is discovered and in reality they are all evil and