At first glance, Dieter Bohlen and Friedrich Nietzsche have as little connection as Marie Antoinette with Rosa Luxemburg or Napoleon with Angela Merkel — but a second reveals greater affinities than one might suspect. In any case, this unlike synopsis enables a new perspective — on Bohlen and on Nietzsche in equal measure. “Pairing the strangest and separating the next”¹, in the following text, our regular author Christian Saehrendt undertakes a truly Nietzschean search for clues on the tracks of the “titan” of German pop, which to this day polarizes like only a few celebrities in the German-speaking world — this, too, a line of connection between philosopher and musician.

After our author, in the first part of this article, described the current political-cultural situation with reference to Fukuyama as an outgrowth of deep-seated boredom, which numbs itself in excesses of anger and indignation, he tries in the following second to suggest a possible turn for this zeitgeist, which could manifest itself in a new Enlightenment verve and a new positive self-image of the Enlightenment. Our author, with Nietzsche, opposes the “four despairs” that afflict the present tense, “four transfigurations” and “fields of research” resulting from them. An ironic view of the world and oneself should help to practice a transfigurative perspective on the world, which would be able to overcome the lethargy of postmodernism and revitalize the modernist project. The program of self-reliant future Enlightenment.

Barbara Straka's newly published book Nietzsche Forever? explores the question of how Nietzsche is received in 20th century art, in particular that after 1945. But the reception of Nietzsche's reception raises the question of whether the philosopher's monumentality is lost sight of. Does this reveal a fundamental problem of our age with monumentality? In any case, starting from Nietzsche, Michael Meyer-Albert argues against Straka for a “post-monumental monumentality” as an alternative to aesthetic postmodernism. In the first part of the two-part series, he dedicated himself to her book, and now he is accentuating his opposite position.

The fact that Nietzsche is a philosopher who speaks particularly to artists, even an “artist-philosopher,” is almost commonplace. In Barbara Straka's newly published book Nietzsche Forever?, the question is explored how exactly Nietzsche has been received in 20th century art, in particular that after 1945. The author has created a standard work that clearly and competently conveys the topic in plausible overviews. In this first part of this two-part article, Michael Meyer-Albert dedicates himself to her book and will then accentuate his own position in the upcoming second part.

On the occasion of the 125^th anniversary of Friedrich Nietzsche’s death on August 25, we spoke with two of the most internationally renowned Nietzsche scholars, Andreas Urs Sommer and Werner Stegmaier. While the conversation with Sommer focused primarily on Nietzsche’s life, our discussion with Stegmaier centered on Nietzsche’s thinking, its relevance today, and Stegmaier’s own philosophy of orientation. What are Nietzsche’s central insights – and to what extent can they help us find our way in the present? What does his concept of “nihilism” mean? And what are the political implications of his philosophy?

Translated by Reinhard Müller.

In addition to hiking, dancing is one of the most prominent soldiers in Nietzsche's “moving [m] army of metaphors, metonymies, anthropomorphisms.” Based on Nietzsche's reflections on the art of movement, Jonas Pohler explores the paramount importance that it plays in our present day. Is the effect of dance primarily sexual? What does dance have to do with technology? What symbolism is the dancing gesture able to convey?

On April 12, 1961, Soviet cosmonaut Yuri Gagarin achieved the unbelievable: He was the first person in history to leave the protective atmosphere of our home planet and circumnavigate the Earth in the Vostok 1 spaceship. In 2011, the anniversary of this “superhuman” act was declared International Manned Space Day. The stars aren't that far away anymore. With the technical progress achieved, the fantasy of expanding human civilization into space takes on concrete plausibility. The following text attempts to philosophically rhyme with these prospects and finally describes the approach of a possible space program from Nietzsche. Although airplanes didn't even exist during his lifetime, his concepts can still be applied to this topic in a productive way, as is so often the case.

Editorial note: We have explained some difficult technical terms in the footnotes.

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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 Michael Meyer-Albert in the first part of his text Telling the sad story of the self-doubt of the Enlightenment, he now reports on Nietzsche's “cheerful science” as an alternative.

Nietzsche's best-known formulation, according to which God is dead, not only shows an anti-religious thrust. In particular, it points out that in modern times, constitutive self-evident elements no longer have traditional validity. As the cultural understanding of truth has faltered, not only has this or that truth become questionable, but the understanding of what truth actually is. This puts enlightenment under pressure to find the questions to which it should be the answer. It is this abyss of uncanny questionability from which Nietzsche's thinking attempts to show ways out that are viable. In the first part of his text Enlightenment Twilight Michael Meyer-Albert talks about the clarified doubts of the Enlightenment about itself.

Paul Stephan talked to Jenny Kellner and Hans-Martin Schönherr-Mann about the interpretation of one of the most important Nietzsche interpreters of the 20th century: Georges Bataille (1897—1962). The French writer, sociologist and philosopher defended the ambiguity of Nietzsche's philosophy against its National Socialist appropriation and thus became a central source of postmodernism. Based on Dionysian mythology, he wanted to develop a new concept of sovereignty that transcends the traditional understanding of responsible subjectivity, and criticized modern capitalist rationality in the name of an “economy of waste.” With all this, he provides important impulses for a better understanding of our present tense.

Nietzsche is generally regarded as a literary philosopher whose aphoristic nihilisms not only conjure up the death of God, but who also reinforced the dark sides of German history as a posthumous master thinker. In contrast, the following text would like to be part of the series What does Nietzsche mean to me? invite you to learn to read Nietzsche anew as the discoverer of the all-too-unknown philosophical continent of Mediterranean existentialism.