I defend a contextual reconstruction of Nietzsche’s philosophical project. My contextualist reconstruction contrasts with the rationalist reconstruction predominant in contemporary Anglo-American scholarship. After discussing the differences between the two approaches, I show how the rationalist reconstruction has distorted our understanding of Nietzsche in at least two respects. First, in trying to extract theories from Nietzsche’s corpus that will be attractive to contemporary philosophers, it has caused scholars largely to neglect the nature, structure, and argument of Nietzsche’s published works. Here, I make my case by focusing on common misunderstandings of Nietzsche’s free spirit works. Second, it has caused scholars to tame Nietzsche’s project by dismissing Thus Spoke Zarathustra as mere poetry and distancing Nietzsche from controversial ideas such as the will to power and the eternal recurrence. In contrast, I argue that by reading Nietzsche as a naturalist through the lens of a historical influence like Schopenhauer, rather than anachronistically through Quine, we can begin to make sense of these essential features of his project. I close with some remarks about why a contextual reconstruction may not only be truer to Nietzsche, but also more philosophically satisfying than the rationally reconstructed Nietzsche currently on offer.
Analyzing the Mexican case of collectives of women currently looking for their disappeared relatives due to an escalation of violence related to the so-called War against Drugs that former president Felipe Calderón (2006–2012) started, this essay develops a new conception of politics grounded not only on rational thought but also on affect. These collectives put forward a materialistic, feminist, and performative mode of politics. Publicly lamenting their losses and literally digging bodies out of Mexican land, these women perform and recover the citizenship that the Mexican state has de facto disavowed of them. I propose conceptualizing them as “bad victims” since their taking action does not take away their pain; rather, the public exposure of their lament actually turns them into political agents.
Bio:
Rosaura Martínez Ruiz is Full Professor of Philosophy at the National Autonomous University of Mexico (UNAM) and a member of the National System of Researchers, level III. She was coordinator of the research projects “Philosophers after Freud” and “Philosophy and Psychoanalysis as Critical Borders of the Political.” She is the author of Freud y Derrida: escritura y psique (2013) and Eros: Más allá de la pulsión de muerte (2017). This last book has been translated into English and published by Fordham University Press (2021). She has coordinated several collective books and published articles on the intersection between psychoanalysis and philosophy and on the field of the psychopolitical. In 2017 she was awarded the Research Prize in Humanities by the Mexican Academy of Sciences; in 2019 she was a Fulbright Scholar; in 2021 she received the Sor Juana Inez de la Cruz UNAM recognition; and during the Fall 2023 she was the Tinker Visiting Professor at Columbia University. She is part of the advisory board of the “International Consortium of Critical Theory Programs” coordinated by Judith Butler.
Nietzsche (1844-1900) is one of the few philosophers who have an intimate connection to music. This connection has much to do with his early music education. His contemporaries testify that he was a good pianist. His musical ambition, or his musical daimon, urged him to compose music, although he had no training in this area. Most of his compositions are from his late teens; his earliest inspirations are Beethoven, Mozart, Haydn, Schubert, Schumann and Wagner. His compositions were gathered together and published by Curt Paul Janz in Friedrich Nietzsche, Der musikalische Nachlass. Nietzsche’s music is available in several productions. However, Nietzsche did not follow a musical path and decided to become a philologist and dedicated his life to writing and philosophy.
Nietzsche’s background in music, on the other hand, influenced his way of thinking and writing. All of these interesting areas between music, literature, and philosophy and Nietzsche’s relationship to music understood on a broad spectrum have been explored by many Nietzsche scholars including Georges Liébert, Graham Parkes, Francois Noudelmann, Stefan Lorenz Sorgner and others and in the anthology, An Anthology on Nietzsche and Music: Philosophical Thoughts and Musical Experiments, edited by the presenters of today’s event. This event is dedicated to the exploration of this relationship between Nietzsche and music.
This talk reads contemporary debates about structural racism and US history from the perspective of philosophical questions about identity and difference. While many people have argued that America needs to come to terms with or “work through” the racism in its history that has shaped and continues to shape its present structures, it remains difficult to explain what connects this past and the present. Are we talking about one racism with many different past and present forms? Or are there multiple racisms that only share some similar features? In this talk, I draw attention to how these divisions play out particularly in contemporary Black Studies and argue that the philosophy of Gilles Deleuze can offer us resources for thinking about these questions through his discussions of repetition. I argue that understanding our conversations about structural racism and history as conversations about a racism that repeats, can help us to better understand why racism seems to reappear, how to think its disparate forms together, and what presuppositions operate in many attempts to “work through” the past.
Bio: Eyo Ewara is Assistant Professor of Philosophy at Loyola University Chicago. His teaching and research explores the relationships between 20th Century Continental Philosophy, Critical Philosophy of Race, and Queer Theory. His work has appeared in Theory and Event, Puncta, Philosophy Today, Critical Philosophy of Race, Political Theology, and other venues. His current research project is particularly interested in engaging work in Continental Philosophy, Queer Theory, and Black Studies to address questions of identity and difference amongst concepts of race, forms of racism, and forms of anti-racism. How can we better account for the relations between at times radically disparate concepts, structures, and practices such that they can all specifically and recognizably be called racial? What might our account of these relations say about our ability to address racism’s harms?