Why did Nietzsche claim to have "written in blood"? Why did Heidegger remain silent after World War II about his participation in the Nazi Party? How did Hölderlin's voice and the voices of other, more ancient poets come to echo in philosophy? Words in Blood, Like Flowers is a classical expression of continental philosophy that critically engages the intersection of poetry, art, music, politics, and the erotic in an exploration of the power they have over us. While focusing on three key figures—Hölderlin, Nietzsche, and Heidegger—this volume covers a wide range of material, from the Ancient Greeks to the vicissitudes of the politics of our times, and approaches these and other questions within their hermeneutic and historical contexts. Working from primary texts and a wide range of scholarly sources in French, German, and English, this book is an important contribution to philosophy's most ancient quarrels not only with poetry, but also with music and erotic love.

This book studies the working efficacy of Leonard Cohen's song Hallelujah in the context of today's network culture. Especially as recorded on YouTube, k.d. lang's interpretation(s) of Cohen's Hallelujah, embody acoustically and visually/viscerally, what Nietzsche named the 'spirit of music'. Today, the working of music is magnified and transformed by recording dynamics and mediated via Facebook exchanges, blog postings and video sites. Given the sexual/religious core of Cohen's Hallelujah, this study poses a phenomenological reading of the objectification of both men and women, raising the question of desire, including gender issues and both homosexual and heterosexual desire. A review of critical thinking about musical performance as 'currency' and consumed commodity takes up Adorno's reading of Benjamin's analysis of the work of art in the age of mechanical reproduction as applied to music/radio/sound and the persistent role of 'recording consciousness'. Ultimately, the question of what Nietzsche called the becoming-human-of-dissonance is explored in terms of both ancient tragedy and Beethoven's striking deployment of dissonance as Nietzsche analyses both as playing with suffering, discontent, and pain itself, a playing for the sake not of language or sense but musically, as joy.

Dialogue is promoted by its supporters as a pluralising force capable of accommodating the moral disagreement inevitable in every sphere of human society, but this promise is widely and vehemently challenged. How are we to determine the principles upon which the dialogical exchange should take place? How should we think of ourselves as interlocutors? Should we associate dialogue with the desire for consensus? How should we determine decision-making? What are the gender dynamics of dialogical politics and how much do they matter? This book brings together internationally recognised expert authors from the fields of political and social theory, political philosophy and international relations to consider these controversial questions anew from a range of theoretical positions. The differences of opinions and clashes of views make for a fascinating and highly informative read.

​This book is the first sustained scholarly account of women and goddesses in presocratic philosophy. It approaches the origin of western philosophy via Nietzsche, Feminism, and Embodied Cognition in order to argue that the presocratics were reviving, within the largely patriarchal and death-glorifying culture of archaic Greece, a paleo/neolithic goddess-centered religiosity that affirmed life and rebirth. By taking readers from prehistoric Europe to classical Athens, Joseph I. Breidenstein Jr. provides a novel narrative of the dawn of western philosophy which is more comprehensive than traditional accounts and which helps us address contemporary problems—the patriarchal attitudes and ideas that continue to corrupt academic-philosophical culture; the fascist-dominator lifestyle that continues to threaten western democracy and which is encouraged by the patriarchal aspects of academia; and the consumerism that continues to result from a materialistic-secular paradigm that is being increasingly recognized as both intellectually untenable and socially unsustainable.

The name Friedrich Nietzsche resonates around the world. Although known primarily as a philosopher, Nietzsche began his writing career while still a boy with literary texts: poetry, prose, and dramas. The present book is the first extensive study in English of these early literary works. It understands Nietzsche in the light of his activity as a creative writer from his juvenilia through his first two years as professor of classical philology at the University of Basel, that is, through the 1872 publication of his first major work, The Birth of Tragedy Out of the Spirit of Music. Knowledge of Nietzsche's early literary writings further underscores the value of The Birth of Tragedy as a work of world literature. The present study makes available almost all of Nietzsche's early poetry and extensive excerpts from his early prose works and dramas - much of it in English for the first time - along with commentary. A final, extensive chapter on The Birth of Tragedy treats it as the culmination of the early literary works. The book contains many new insights into Nietzsche and his work and essential source material for future research. All quotations from Nietzsche are given in both the original German and in English.ions from Nietzsche are given in both the original German and in English. works. The book contains many new insights into Nietzsche and his work and essential source material for future research. All quotations from Nietzsche are given in both the original German and in English.ions from Nietzsche are given in both the original German and in English.

"A stimulating book about combating despair and complacency with searching reflection." --Heller McAlpin, NPR.org Named a Best Book of 2018 by NPR. One of Lit Hub's 15 Books You Should Read in September and one of Outside's Best Books of Fall A revelatory Alpine journey in the spirit of the great Romantic thinker Friedrich Nietzsche Hiking with Nietzsche: Becoming Who You Are is a tale of two philosophical journeys—one made by John Kaag as an introspective young man of nineteen, the other seventeen years later, in radically different circumstances: he is now a husband and father, and his wife and small child are in tow. Kaag sets off for the Swiss peaks above Sils Maria where Nietzsche wrote his landmark work Thus Spoke Zarathustra. Both of Kaag’s journeys are made in search of the wisdom at the core of Nietzsche’s philosophy, yet they deliver him to radically different interpretations and, more crucially, revelations about the human condition. Just as Kaag’s acclaimed debut, American Philosophy: A Love Story, seamlessly wove together his philosophical discoveries with his search for meaning, Hiking with Nietzsche is a fascinating exploration not only of Nietzsche’s ideals but of how his experience of living relates to us as individuals in the twenty-first century. Bold, intimate, and rich with insight, Hiking with Nietzsche is about defeating complacency, balancing sanity and madness, and coming to grips with the unobtainable. As Kaag hikes, alone or with his family, but always with Nietzsche, he recognizes that even slipping can be instructive. It is in the process of climbing, and through the inevitable missteps, that one has the chance, in Nietzsche’s words, to “become who you are."

The inner word in Gadamer’s hermeneutics refers to the meaning that exceeds anything explicitly said. This explanation has been subsumed within metaphysical and theological parameters of interpretation with little regard for the implication of Gadamer’s turn to the living language for understanding the inner word. Through examining his phenomenology of the inner word, The Inner Voice in Gadamer’s Hermeneutics reveals its musical (rhythmic and tonal) dimensions and how they function to harmonize disparate orientations in the middle voice, above all for Gadamer, those that underlie modes of cognition in both the humanities and the sciences—a visual and auditory ethos. However, understood as constituting the music of language discernible in the middle voice, the inner word is also suppressed or forgotten by the technological extension of sight—that is, print—and thus requires a turn of the inner ear or auditory disposition. Andrew Fuyarchuk assesses theories of language in evolutionary and cognitive science in light of Gadamer’s insights into the nature of thought, and he employs them to account for a dimension of language that is inscribed in the lingual minds of our species. When recalled by the inner ear, this dimension enables us to think such opposites together as we find in the humanities and sciences together. This thinking together is expressed in a double account of an object of inquiry, such as the one Fuyarchuk puts forward about the inner word in Gadamer’s philosophical hermeneutics.