A new translation into American English from the original manuscript of Nietzsche's 1887 "Zur Genealogie der Moral" or "On the Genealogy of Morals". This edition is bilingual- the original text is included in the back as reference material behind the English translation. This is volume 8 in the Complete Works of Friedrich Nietzsche by Livraria Press. In tracing the origins of morality, the ruthless philosopher-artist surveys all of human history from a Darwinian-historical perspective first, and then from a phenomenological lens. He does not have the Teleological view of history of Hegel, but rather sees a broken mess of repression and mistakes leading to the modern world, which must all be broken down. His great work is to help society return to a pre-socratic greek warrior society. This and his following works Beyond Good and Evil and The Twilight of the Idols are “the books of the revaluation of all values”.

Thus Spake Zarathustra is a foundational work of Western literature and is widely considered to be Friedrich Nietzsche’s masterpiece. It includes the German philosopher’s famous discussion of the phrase ‘God is dead’ as well as his concept of the Superman. Nietzsche delineates his Will to Power theory and devotes pages to critiquing Christian thinking, in particular Christianity’s definition of good and evil.

A critical re-examination of the views of Plato, Aristotle, Hegel and Nietzsche on tragedy. Ancient Greek tragedy is revealed as surprisingly modern and experimental, while such concepts as mimesis, catharsis, hubris and the tragic collision are discussed from different perspectives.

This new edition is the product of a collaboration between a Germanist and a philosopher who is also a Nietzsche scholar. The translation strives not only to communicate a sense of Nietzsche’s style but also to convey his meaning accurately—and thus to be an important advance on previous translations of this work. A superb set of notes ensures that Clark and Swensen's Genealogy will become the new edition of choice for classroom use.

A new translation into American English from the original manuscript of Nietzsche's 1881 Morgenröte. This edition is bilingual- the original text is included in the back as reference material behind the English translation. This is volume 4 in The Complete Works of Friedrich Nietzsche from Livraria Press. This chronological, systematic set of Nietzsche's works is the first ever bilingual "Hauptwerke" or complete major works of Nietzsche published in English & the original German. This work is often translated as "The dawn" or "the dawn of day". This is a poor translation of the original title "morgenrote" which refers to the reddening of the sky in the pre-dawn hours. Morgenröthe, or Morgenröte in the modern spelling, literally means "Morning-Red", a unique German word referring to the reddening of the sky in the twilight hours before daybreak. Rendering such as The Dawn of Day" or just "Daybreak", but this misses the connotations of the word. Dämmerung is "dawn", but Morgenröte is a specific phenomenon of the predawn eastern sky. In Roman mythology, there is a Goddess associated with the Morgenröte- Aurora. In Greek mythology, Homer called this the "rose-fingered Eos". This has continuity into Christianity as the Red Mass, the beginning of two different antiphons in the liturgy of the Roman Catholic Church at Advent to celebrate Mary who is symbolized by the dawn, traditionally celebrated in the pre-dawn reddening of the sky. While there isn't a direct equivalent word for the pre-dawn reddening, the closest literal translation would be "The Reddening Dawn", but to capture the dramatic tone, I rendered this “The Scarlet Daybreak”. Nietzsche is speaking here of a hope for his own dawn out of the nihilism he was born into –“seine eigene Morgenröthe”. In his initial declaration of war against Metaphysics in Human, All too Human, Nietzsche writes “the will is ashamed of the intellect.” This initial foray into Schopenhauer’s philosophy of the force of the will finally manifest itself as the Willen zur Macht here in The Scarlet Daybreak. Through this lens, he takes on the whole of Christianity and the Judeo-Christian moral continuum. He considers religious experience, particularly Christianity, as a psychopathological phenomenon, an idea he articulates in every single one of his works. His perspective shifts from a Darwinian-Historical in Human, All too Human, to a more phenomenological-psychological approach here in The Scarlet Daybreak.

A new translation into American English from the original manuscript of Nietzsche's 1889 Der Antichrist. This edition is bilingual- the original text is included in the back as reference material behind the English translation. This is volume 9 in The Complete Works of Friedrich Nietzsche from Livraria Press. This chronological, systematic set of Nietzsche's works is the first ever bilingual "Hauptwerke" or complete major works of Nietzsche published in English & the original German. The Anti-Christ is the apotheosis of his arguments against Christianity, as well as his personal Megalomania. As the title suggests, Nietzsche sees himself as the Anti-Christ, the replacement of Christ and Socrates. He truly believed that he was going to replace Jesus in the Western world. Nietzsche is oceanic in his attempt to solve philosophy itself, as Hegel and many Continental philosophers did, but here takes it to an entirely different place. As the self-described Miltonic inversion of Job, a neo-Prometheus, the self-described Anti-Christ, he believed it was his duty to help the West undo thousands of years of history and return to a pre-socratic greek warrior society. This is realized through a restoration of amoral teleology with the Will Zu Macht, the Will to Power, to a return to a Pagan Greco-Roman culture.

What Theodor W. Adorno says cannot be separated from how he says it. By the same token, what he thinks cannot be isolated from how he thinks it. The central aim of Richter’s book is to examine how these basic yet far-reaching assumptions teach us to think with Adorno—both alongside him and in relation to his diverse contexts and constellations. These contexts and constellations range from aesthetic theory to political critique, from the problem of judgment to the difficulty of inheriting a tradition, from the primacy of the object to the question of how to lead a right life within a wrong one. Richter vividly shows how Adorno’s highly suggestive—yet often overlooked—concept of the “uncoercive gaze” designates a specific kind of comportment in relation to an object of critical analysis: It moves close to the object and tarries with it while struggling to decipher the singularities and non-identities that are lodged within it, whether the object is an idea, a thought, a concept, a text, a work of art, an experience, or a problem of political or sociological theory. Thinking with Adorno’s uncoercive gaze not only means following the fascinating paths of his own work; it also means extending hospitality to the ghostly voices of others. As this book shows, Adorno is best understood as a thinker in dialogue, whether with long-deceased predecessors in the German tradition such as Kant and Hegel, with writers such as Kafka, with contemporaries such as Benjamin and Arendt, or with philosophical voices that succeeded him, such as those of Derrida and Agamben.