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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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?

The humanities scene recently experienced a minor sensation: In the estate of Michel Foucault (1926—1984), one of the most important representatives of post-structuralism, its editors came across an elaborate book manuscript with the title Le discours philosophique, on which the avowed Nietzschean had worked in 1966. It was published in German by Suhrkamp in 2024. Nietzsche plays a decisive role in this comprehensive analysis of philosophical discourse since Descartes. Paul Stephan takes this event as an opportunity to take a closer look at the most influential Nietzsche interpretation of the 20th century to date.

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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.

For hardly any other philosopher, music was as important as it was for Nietzsche. “Without music, life would be a mistake”¹, he wrote. Christian Saehrendt goes for Nietzsche PopArts The question of how this high appreciation of sound art was manifested in his life and work. He talks about Nietzsche's own compositions as well as one of the most iconic aspects of his life: his friendship with Richard Wagner. He shows that the music for Nietzsche is almost erotic It was important — and in this respect he was not so “out of date” at all, but a typical child of his time.

What significance can a practice of waste have in today's advanced rationalization? Shouldn't we rather do everything we can to increase our efficiency and productivity if we want to meet the challenges of this crisis-ridden time? But when we turn to the thinking of Friedrich Nietzsche and his ardent admirer Georges Bataille, we are sometimes exposed to an emphasis of waste that shakes our moral principles and perhaps opens us up to a new and different kind of politics than the one that seems to impose itself on us today as having no alternative.

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