The young philosopher Johannes Hansmann has published his monograph Ironie des Schicksals im Einzelnen. Philosophie der Kontingenz bei Marquard und Rorty ("Irony and Fate in Detail. The Philosophy of Contingency in Marquard and Rorty") last year at Karl Alber. It is a remarkable study on two of the most important representatives of existential philosophy in the 20th century, the German Odo Marquard (1928-2015) and the American Richard Rorty (1931-2007). Although Nietzsche only plays a minor role, he deals with highly Nietzschean topics there, dedicates himself to the question of a felicitous — and for him that means in particular: authentic — life in a world after the “death of God,” to which Marquard and Rorty gave very different answers. Natalie Schulte and Paul Stephan present the book to you. A joint summary of the book's most important ideas is followed by an individual statement from each of our authors.

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.

After two previous contributions to Nietzsche in the Anglosphere For this blog, Henry Holland interviewed American thinker Daniel Tutt about his perspective on Nietzsche as the most important antagonist of the left. The discussion included Huey Newton, leader of the Black Panthers in the 1970s, and what his “parasitic” way of reading Nietzsche prompted him to read. An unedited and unabridged version of this interview, in original English, can be heard and watched on Tutt's YouTube channel (link).

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