Així parlà Zaratustra. Fragments

El document forma part dels materials docents programats mitjançant l'ajut del Servei de Política Lingüística de la Universitat de ValènciaFragments d'Així parlà Zaratustra traduïts al catal

Destí i història (Conferència del cercle «Germania». Primavera de 1862)

Si poguéssim contemplar amb una mirada lliure i sense prejudicis la doctrina cristiana i la història de l’església, ens veuríem obligats a expressar algunes opinions oposades a les idees generals. Però, atès que des dels primers dies de vida estem sotmesos al jou del costum i dels prejudicis, dificultats en el nostre desenvolupament natural i condicionats en la formació del nostre temperament per les impressions de la nostra infantesa, creiem que hem de considerar gairebé com un delicte el fet d’escollir un punt de vista més lliure, que ens permetés emetre un veredicte imparcial i adequat al nostre temps sobre la religió i el cristianisme. Un intent com aquest no és l’obra d’algunes setmanes, sinó l’obra d’una vida. Ja que, com es podria destruir l’autoritat de dos mil·lennis, el fiançament dels homes més ingeniosos de tots els temps, mitjançant els resultats de cabòries juvenils, com podria un sobreposar-se mitjançant fantasies i idees immadures a tots els dolors i tot allò beneït pel progrés d’una religió profundament arrelada en la història del món

Schopenhauer som opdrager

Teksten er en oversættelse af en af Nietzsches tidlige tekster fra 1874 (den tredje Utidssvarende), hvor han med afsæt i en forståelse af mennesket som et enestående mirakel udfolder forskellige refleksioner over den dannelsesmæssige fordring, der medfører en klar selvbesindelse på sine opdragere og formgivere - for Nietzsches eget vedkommende Arthur Schopenhauer. Denne for Nietzsche sande filosof lærte ham at være enkel og ærlig i liv og tanke: at være utidssvarende i ordets mest omfattende forstand, og bibragte ham endvidere en virkelig befordrende munterhed samt standhaftighed i forhold til omverdenen i hans vedvarende søgen efter menneskets sande væsen

Nietzsche on Film

This is the final version of the article. Available from Edinburgh University Press via the DOI in this record.This article tracks the many appearances of Friedrich Nietzsche throughout the history of cinema. It asks how cinema can do Nietzschean philosophy in ways that are unique to the medium. It also asks why the cinematic medium might be so pertinent to Nietzschean philosophy. Adhering to the implicit premise that, as Jacques Derrida once put it, ‘there is no totality to Nietzsche's text, not even a fragmentary or aphoristic one,’ the essay's mode of argument avoids reductive totalization and instead comprises a playful sampling of variously Nietzschean manifestations across dissimilar films. It begins with an extended account of Baby Face, a 1933 drama from which the abundant references to Nietzsche were either altered or expunged ahead of theatrical release. It then maps some of the philosophical consistencies across two genres in which characters read Nietzsche with apparent frequency: the comedy and the thriller. While comedies and thrillers both treat Nietzsche and his readers with suspicion, and do so for perceptive historical reasons, the essay then asks what an affirmatively Nietzschean film might look like. It explores this possibility through a discussion of cinematic animation in general and then more specifically via several critically familiar films that self-consciously evolve their aesthetic through Nietzsche's philosophy. The essay concludes by affirming Béla Tarr's final film as one of the medium's greatest realizations of a Nietzschean film-philosophy. The Turin Horse, released in 2011, is exemplary because it takes Nietzsche as a narrative premise only to sublate that premise into a unique visual style

Einstein on the beach: A study in temporality

This is an Author's Accepted Manuscript of an article published in Performance Research, 17(5), 34 - 40, 2012, copyright @ Taylor & Francis, available online at: http://www.tandfonline.com/10.1080/13528165.2012.728438.In this paper I seek to examine and analyse the sense of duration induced by performances of Einstein on the Beach, and the entailed sense of time which its internal structure creates. I initially sketch out the stylistic context and artistic intentions of this work's creators, Glass and Wilson, and I briefly describe the process of its creation. Certain features of this process indicate how the work may be interpreted. Having cited the creators' thoughts on structure and temporality, I address directly aspects of Einstein's temporal effects, comparing it to works of similar lengths. I give the briefest synopsis of its staging and motifs. I then outline three kinds of devices which seem to inform our temporal sense of this work as spectators. In the final section I invoke two ideas which serve as analogies to help characterise this work's overall effect on us: Heidegger's notion of the ‘hermeneutic circle’ and, more speculatively, Nietzsche's ‘theory’ of Eternal Recurrence

Ecce Homo

Ecce Homo (German Ecce homo: Wie man wird, was man ist) is the last original book written by philosopher Friedrich Neitzsche before his final years of insanity that lasted until his death in 1900. It was written in 1888 and was not published until 1908. This is a 1911 English translation by Anthony M. Ludovici.https://digitalcommons.winthrop.edu/rarebooks/1053/thumbnail.jp

Nietzsche's Notebook of 1887-1888

Nietzsche's single notebook called: 1887-1888 11[1-417]. Translated from German to English. Some the text that was written in French was not translated. See: "Nietzsche's Notebooks in English: a Translator's Introduction and Afterward" at the end of the text, pages 130 to 138. Translation done June 2012. This is just one of the Nietzsche's notebooks. Started in November 1887 and end date of March 1888. German notebook included in this translation: 11 [1-417] November 1887 to Marz 1888. (first note says, Nizza den 24. November 1887). Call notebooks (Notizheft). See other translation of all of the last notebooks that were all started in 1888, translation Daniel Fidel Ferrer

Twilight of the Idols or How to Philosophize with a Hammer

Cataloguing: Twilight of the Idols or How to Philosophize with a Hammer / By Friedrich Nietzsche (1844-1900). [Götzen-Dämmerung. English]. Translation of text, afterward, notes, letters, and appendixes by ©Daniel Fidel Ferrer, 2013. 1. Philosophy 2) Metaphysics 3) Philosophy, Germa 4) Philosophy, German -- 19th century 5) Philosophy, German – Greek influences I. Nietzsche, Friedrich Wilhelm, 1844-1900 II. Ferrer, Daniel Fidel, 1952