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.

This article attempts to approach two of Nietzsche's most puzzling ideas: the Eternal Return and Amor fati, the “love of fate.” How exactly are these ideas to be understood — and above all: What do they have to tell us? How can we not only affirm fate, which is interpreted as an eternal return, but really love learn?

Among the philosophers, it was in particular the “main philosopher” of the Institute for Social Research, Theodor W. Adorno (1903-1969), who was skeptical or negative of these ideas of Nietzsche. Where remains, from the point of view of Amor fati, of critique and utopia whose banner Adorno and his intellectual companions held up?

As a result of the general failure of Marxisms to deal with fascism theoretically, the Frankfurt Institute tried to reorient itself from the 1930s onwards. The success of this movement seemed understandable to many unorthodox Marxists not only on the basis of economic laws; in their opinion, greater consideration was needed of the “subjective factor,” i.e. the psychological structure of the bourgeois individual. As part of this paradigm shift, Adorno turned to Sigmund Freud as well as Nietzsche. For the rest of his work, the German philosopher was a recurring point of reference for him.

Adorno, however, remained stubborn towards Nietzsche in an aspect that is typical of Marxist Nietzsche interpreters time and again: the insistence on the orientation towards a state of redemption for humanity in some way — the anticipation of which is manifested above all in the devaluation of the present. From this point of view, he also criticizes in his main aphoristic work Minima Moralia (1951) — according to him, a “sad science [...] of the right life”¹ — Nietzsche's concept of Amor fati. Nietzsche's will to “just be a yes-sayer at some point”², he thinks is a kind of Stockholm syndrome in the philosophy of life. However, such a task — not only of affirmation, but even of the will to affirm — would amount to abandoning the basis for every living appropriation of Nietzsche's philosophy. Taking up Adorno's critique, with reference to the interpretation of the important French Nietzsche interpreter Gilles Deleuze (1925-1995), it is intended to explore what Nietzsche provides for the universal and yet always very personal question of why existence — here and now — wants to be affirmed.

In today's world, which wants to call itself modern and equal, old patterns continue to have an effect — rivalry instead of solidarity, adaptation instead of departure. The essay provocatively asks: Where are the barbarians of the 21st century? It shows the emergence of a new female force — a woman who does not destroy but refuses, who evades old roles and gains creative power from pain. Through examples from reality and literature, the text attempts to show that true change does not start in obedience but in bold “no” — and that solidarity among women could be the real revolution.

We awarded this text second place in this year's Kingfisher Award for Radical Essay Writing (link).

If you'd rather listen to it, you'll also find it read by Caroline Will on the Halcyonic Association for Radical Philosophy's YouTube channel (link) or on Soundcloud (link).

The diagnosis of our time: not heroic barbarians, but selfie warriors. This essay, which won the second place at this year's Kingfisher Award (link), explores Nietzsche's vision of the”stronger type”¹ and shows how it is turned into its opposite in a narcissistic culture — apocalypse as a pose, the Other as a blind spot. But instead of the big break, another option opens up: a “barbaric ethic” of refusal, of ambivalence, of relationship. Who are the true barbarians of the 21st century — and do we need them anyway?

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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Taylor Swift is one of the most important “idols” of our time. Reason enough for our regular authors Henry Holland, Paul Stephan and Estella Walter to pick up on the Nietzschean “hammer” and get to grips with the hype a bit: Does Swift deserve the cult around her that goes down to philosophy? Is it grossly overrated? And what explains the discrepancy between appearance and reality, spectacle and life?

You can watch the entire unabridged conversation on the Halcyonic Association for Radical Philosophy YouTube channel (link).

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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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Franz Kafka died 100 years ago. The following text is an attempt to update his work with a socio-psychological perspective inspired by Nietzsche. His thesis: Kafka narratingly shows what Nietzsche philosophizes about. Michael Meyer-Albert wants to promote the logic of a non-naive world enlightenment in the fictions of one of the most important authors of modern times: affirmation of life instead of suicide.

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

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From October 7 to 11, 2024, the event organized by the Klassik Stiftung Weimar took place in Weimar Nietzsche's futures. Global Conference on the Futures of Nietzsche instead of. Our regular author Paul Stephan was on site on the first day and gives an insight into the current state of academic discussions about Nietzsche. His question: What is the future of Nietzsche academic research when viewed from the perspective of Nietzsche's own radical understanding of the future?

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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 last part of the series “What does Nietzsche mean to me? “, in which our regular authors briefly presented their respective understanding of Nietzsche in recent weeks, Estella Walter tells of 'her' Nietzsche as a critic of any totality in the name of the nameless reality of becoming.

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.