By Jill Marsden
This publication explores the innovative percentages for philosophy created via Nietzsche's sustained mirrored image at the phenomenon of ecstasy. From The start of Tragedy to his experimental "physiology of art," Nietzsche examines the classy, erotic, and sacred dimensions of rapture, hinting at how an ecstatic philosophy is discovered in his elusive doctrine of everlasting go back. Jill Marsden pursues the results of this legacy for modern Continental suggestion through analyses of such voyages in ecstasy as Kant, Schopenhauer, Schreber, and Bataille.
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Additional info for After Nietzsche: Notes Towards a Philosophy of Ecstasy
However, while it might seem as if Nietzsche merely resituates Kantian arguments within a more explicitly materialist register, it is questionable whether the conditions under which ‘representations’ can relate to ‘objects’ are themselves invariant. If becoming lacks a subject distinct from itself, the body ‘as such’ is not to be regarded as a given. If the body is as much a constellation of the rhythm of things as the items in its perceptual horizon, then its status as a form of the same is as illusory as the things it surveys.
Moreover, we are told that the Apollinian Greek trusts in the principle of individuation as soberly as a sailor navigates a stormy sea that ‘unbounded in all directions, raises and drops mountainous waves’ (BT 1). ). Interpreted metaphysically, this conception of the human seems exemplary of selfpreservative values yet, interpreted libidinally in terms of Apollinian rapture a rather different picture begins to emerge. 34 After Nietzsche In characterizing the Apollinian and Dionysian as ‘artistic energies that burst forth from nature itself without the mediation of a human artist’, Nietzsche complicates the classical conception of art as mimesis by failing to rigorously distinguish art from nature.
Thought in terms of the libidinal rather than the liminal, ecstasy describes a feeling of life, not the deﬁnition of self-exceeding presence. Perhaps this will mean that the philosopher must stammer in an alien tongue, translating the inner ‘echoes of the world symphony’ into the form of concepts (PTAG, 3). For all this, the problem which philosophy faces after Nietzsche is not one of language but one of life. How ‘well disposed’ would one have to become to oneself and to life to crave nothing more fervently than the ultimate, eternal ‘conﬁrmation and seal’ of eternal return?
After Nietzsche: Notes Towards a Philosophy of Ecstasy by Jill Marsden