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.

The late Nietzsche repeatedly imagines himself as a descendant of Polish nobles. It is not just a personal whim, but also says something about Nietzsche's philosophical positioning: For him, Poland is a kind of “anti-nation,” a people of “big individuals” — and last but not least, the Polish noble republic is the political utopia of a radical democratic community, which, precisely in its failure, corresponds to his idea of “aristocratic radicalism.” Paul Stephan goes in this Long Read explores the deeper meaning of this topic in Nietzsche and questions his transfiguration of the old Rzeczpospolita: From a political point of view, this is not as desirable a model as Nietzsche suggests. Jean-Jacques Rousseau continues to lead in this regard Considerations on the Government of Poland from 1772.