Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization, and helped make us who we are.
'I am not a man, I am dynamite.' Ecce Homo is an autobiography like no other. Deliberately provocative, Nietzsche subverts the conventions of the genre and pushes his philosophical positions to combative extremes, constructing a genius-hero whose life is a chronicle of incessant self-overcoming. Written in 1888, a few weeks before his descent into madness, the book sub-titled 'How To Become What You Are' passes under review all Nietzsche's previous works so that we, his 'posthumous' readers, can finally understand him aright, on his own terms. He reaches final reckonings with his many enemies - Richard Wagner, German nationalism, 'modern men' in general - and above all Christianity, proclaiming himself the Antichrist. Ecce Homo is the summation of an extraordinary philosophical career, a last great testament to Nietzsche's will.
'Why do I know a few more things? Why am I so clever altogether?' Self-celebrating and self-mocking autobiographical writings from Ecce Homo, the last work iconoclastic German philosopher Nietzsche wrote before his descent into madness. One of 46 new books in the bestselling Little Black Classics series, to celebrate the first ever Penguin Classic in 1946. Each book gives readers a taste of the Classics' huge range and diversity, with works from around the world and across the centuries - including fables, decadence, heartbreak, tall tales, satire, ghosts, battles and elephants.
Release on 2004-01-01 | by Friedrich Wilhelm Nietzsche,Anthony Mario Ludovici
Author: Friedrich Wilhelm Nietzsche,Anthony Mario Ludovici
Pubpsher: Courier Corporation
For the title of his autobiography, Friedrich Nietzsche chose Pilate's words upon discharging Christ to the mob: Ecce Homo, or "Behold the man". The original subtitle, How One Becomes What One is, suggests psychologically intriguing exploration of the philosopher's personal history.
Comprising eight essays, this collection examines Nietzsche's changing conceptions in response to the work of Schopenhauer, whom he called his great teacher. Also provided is a critical piece Nietzsche wrote about Schopenhauer in 1868.
Few philosophers have been as popular, prolific, and controversial as Friedrich Nietzsche, who has left his imprint not only on philosophy but on all the arts. Whether it is his concept of the übermensch or his nihilistic view of the world, Nietzsche's writings have aroused enormous interest, as well as anathema, in scholars for centuries. This third edition of Historical Dictionary of Nietzscheanism covers the history of this philosophy through a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 400 hundred cross-referenced entries on his major writings, his contemporaries, and his successors. This book is an excellent access point for students, researchers, and anyone wanting to know more about Friedrich Nietzsche.
In the romantic tradition, music is consistently associated with madness, either as cause or cure. Writers as diverse as Kleist, Hoffmann, and Nietzsche articulated this theme, which in fact reaches back to classical antiquity and continues to resonate in the modern imagination. What John Hamilton investigates in this study is the way literary, philosophical, and psychological treatments of music and madness challenge the limits of representation and thereby create a crisis of language. Special focus is given to the decidedly autobiographical impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system. The study begins in the 1750s with Diderot's Neveu de Rameau, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance.
The works of Friedrich Nietzsche have fascinated readers around the world ever since the publication of his first book more than a hundred years ago. As Walter Kaufmann, one of the world’s leading authorities on Nietzsche, notes in his introduction, “Few writers in any age were so full of ideas,” and few writers have been so consistently misinterpreted. The Portable Nietzsche includes Kaufmann’s definitive translations of the complete and unabridged texts of Nietzsche’s four major works: Twilight of the Idols, The Antichrist, Nietzsche Contra Wagner and Thus Spoke Zarathustra. In addition, Kaufmann brings together selections from his other books, notes, and letters, to give a full picture of Nietzsche’s development, versatility, and inexhaustibility. “In this volume, one may very conveniently have a rich review of one of the most sensitive, passionate, and misunderstood writers in Western, or any, literature.” —Newsweek
Nietzsche, Theories of Knowledge, and Critical Theory, the first volume of a two-volume book collection on Nietzsche and the Sciences, ranges from reviews of Nietzsche and the wide variety of epistemic traditions - not only pre-Socratic, but Cartesian, Leibnizian, Kantian, and post-Kantian -through essays on Nietzsche's critique of knowledge via his critique of grammar and modern culture, and culminates in an extended section on the dynamic of Nietzsche's critical philosophy seen from the perspective of Habermas and critical theory. This volume features a first-time English translation of Habermas's afterword to his own German-language collection of Nietzsche's Epistemological Writings.