The connection between Marx(ism) and Nietzsche(anism) has repeatedly been a topic on our blog. To what extent can the ideas of arguably the most important theorist on the left and the philosophical chameleon, who was an avowed anti-socialist and anti-feminist and inspired Goebbels and Mussolini, among others, be meaningfully combined. While there have been repeated attempts at left-wing Nietzscheanism, Estella Walter's conclusion in this controversial thesis article is skeptical: The contrast between “historical-dialectical materialism” and Nietzsche's idea of will to power is too irreconcilable. Beyond his time diagnosis, his thinking only provides little emancipatory content.

Werner Herzog (born 1942), described as a “mythomaniac” by Linus Wörffel, and Klaus Kinski (1926—1991) are among the leading figures of post-war German cinema. In the 70s and 80s, the filmmaker and the actor shot five feature films that are among the classics of the medium's history. They are hymns to tragic heroism, in which the spirit of Nietzsche can easily be recognized. From “Build Your Cities on Vesuvius! “will “Build opera houses in the rainforest! ”.

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After Christian Saehrendt took a primarily biographical look at Nietzsche's relationship to music on this blog in June last year (link), Paul Stephan focuses in this article on Nietzsche's content statements about music and comes to a somewhat different conclusion: For Nietzsche, music has a liberating power through its subjectivating power. It affirms our sense of self and inspires us to resist repressive norms and morals. However, not all music can do that. With late Nietzsche, this is no longer Richard Wagner's opera, but Georges Bizet's opera carmen. Our author recognizes a similar attitude in Sartre's novel The disgust and in black popular music, which is not about comfort or grief, but affirmation and overcoming.

It is well known that Nietzsche's history of influence has been read and absorbed across all political camps. But what about our present tense? Paul Stephan examines the writings of two authors who are about the same age as himself, in their mid/late 30s, and whose perspectives on Nietzsche could hardly be more different: While French journalist and YouTuber Julien Rochedy declares Nietzsche a pioneer of a right-wing cultural struggle, the German philosopher and political scientist Karsten Schubert attacks him for a left-wing identity politics. Both positions do not really convince our authors; rather, they are entirely within the framework of the prevailing simulation of politics as a cultural struggle, which would need to be countered by focusing on the really pressing life problems of contemporary humanity.

After Natalie Schulte reported on the echo of Nietzsche's “superman” idea in the start-up scene last week (Link), Swiss art scholar Jörg Scheller is dedicating this week to her continued existence in extropianism, a subtype of transhumanism that aims to artificially accelerate human evolution on both individual and genre levels using modern technology. The physical law of “entropy,” according to which there is a tendency in closed systems to equalize all energy differences until a state of equilibrium has been established — a state of complete cooling in terms of the universe — is opposed by the proponents of this flow with the principle of “extropy,” the increasing vitality of a system.

In the following article, Christian Saehrendt gives a brief insight into the work of one of the most controversial but also most influential Nietzsche interpreters of the 20th century: the German philosopher Oswald Spengler (1880—1936). The author of The fall of the West (1917/22) is considered one of the most important representatives of the “Conservative Revolution,” an intellectual movement that was significantly involved in the cultural destabilization of the Weimar Republic before 1933. Largely forgotten in Germany, it continues to be eagerly received in a global context, such as in Russia.

In his recently published study Theory of Liberation [Theorie der Befreiung]Frankfurt philosopher Christoph Menke describes liberation as “fascination,” as pleasurable desubjectization and dedication. He refers decisively to Nietzsche — but for him, “fascination” means bewitching, entanglement in lack of freedom and resentment. Can the mystical power of fascination really set us free — or is it not rather Nietzsche's right and liberation means above all self-empowerment and autonomy, whereas the fascinated sacrifice means submission, not least to a fascist leader?