Annual Nietzsche Circle Fundraiser with talk, music, drinks, and refreshments.
$25 General Admission
$10 Student Admission
Levels of Sponsorship:
Eagle: Above $600 (5 free tickets and 4 books)
Hawk: $600 (4 free tickets and 3 books)
Falcon: $400 (3 free tickets and 2 books)
Owl: $200 (2 free tickets and 1 book)
Donations can be made direct, at our website at www.nietzschecirclecom/support_us.html, or simply bring a check with you. Payable to: Nietzsche Circle. Funds may be held in an escrow account subject to determination of 501(c) compliance. We thank you.
Please RSVP with Luke Trusso at luke.trusso@gmail.com by May 10, 2019 and include any guests.
Presented by Fordham Philosophy
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.
Contact Sara Pope for more information.
Contact Sara Pope for more information.
Jacob Soll, in conversation with Pierre Force, John Shovlin, Carl Wennerlind, and Emmanuelle Saada
After two government bailouts of the U.S. economy in less than twenty years, free market ideology is due for serious reappraisal. In Free Market: the History of an Idea, Jacob Soll details how we got to this current crisis, and how we can find our way out by looking to earlier iterations of free market thought. Contrary to popular narratives, early market theorists believed that states had an important role in building and maintaining free markets. But in the eighteenth century, thinkers insisted on free markets without state intervention, leading to a tradition of ideological brittleness. That tradition only calcified in the centuries that followed. Tracing the intellectual evolution of the free market from Cicero to Milton Friedman, Soll argues that we need to go back to the origins of free market ideology in order to truly understand it—and to develop new economic concepts to face today’s challenges.
Jacob Soll is professor of history and accounting at the University of Southern California. He has been awarded numerous prestigious prizes including two NEH Fellowships, the Jacques Barzun Prize, a Guggenheim Fellowship, and, in 2011, the MacArthur Fellowship. He also advises political and financial leaders across the globe to promote accounting standards and financial transparency.
Joining Jacob Soll to discuss his book will be: Pierre Force, Professor of French and History at Columbia; John Shovlin, Professor of History at NYU; and Carl Wennerlind, Professor of History at Barnard College. Emmanuelle Saada, Professor of History and French at Columbia, will moderate the discussion.
This event is co-sponsored by the Maison Française and the Department of History.
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.