Nietzsche S Protestant Fathers

Nietzsche was famously an atheist, despite coming from a strongly Protestant family. This heritage influenced much of his thought, but was it in fact the very thing that led him to his atheism? This work provides a radical re-assessment of Protestantism by documenting and extrapolating Nietzsche’s view that Christianity dies from the head down. That is, through Protestantism’s inherent anarchy. In this book, Nietzsche is put into conversation with the initiatives of several powerful thinking writers; Luther, Boehme, Leibniz, and Lessing. Using Nietzsche as a critical guide to the evolution of Protestant thinking, each is shown to violate, warp, or ignore gospel injunctions, and otherwise pose hazards to the primacy of Christian ethics. Demonstrating that a responsible understanding of Protestantism as a historical movement needs to engage with its inherent flaws, this is a text that will engage scholars of philosophy, theology, and religious studies alike.

"In The Shadow of the Antichrist, Williams fills a significant gap in the scholarly literature by examining Nietzsche's critique of Christianity and his continuing influence. Williams begins with a basic question - What was it about Christianity that caused Nietzsche's agitation? He aims to answer that question not with a systematic survey of Nietzsche's thought but rather through a careful examination of themes that emerge in his ruminations on religion."--BOOK JACKET.

Joseph Conrad's novels are recognized as great works of fiction, but they should also be counted as great works of criticism. A voracious reader throughout his life, Conrad wrote novels that question and transform the ideas he encountered in non-fiction, novels, and scientific and philosophic works. Under Conrad's Eyes looks at Conrad's revaluations of some of his important nineteenth-century predecessors - Carlyle, Darwin, Dickens, George Eliot, Dostoevsky, and Nietzsche. Detailed readings of works from Heart of Darkness to Victory explore Conrad's language and style, focusing on questions regarding the will to know and the avoidance of knowledge, the potential harmfulness of sympathy, and the competing instincts for self-preservation and self-destruction. Comparative analyses show how Conrad transforms aspects of Bleak House into The Secret Agent and Middlemarch into Nostromo. Especially compelling are explorations of Conrad's ambivalence towards Carlyle's faith in work and hero-worship as rejuvenators of English culture and his views on Nietzsche's assault on Christianity. This important new study of a novelist of profound contemporary relevance demonstrates how Conrad exemplifies the artist as critic while challenging both the categories we impose on texts and the boundaries we erect between literary periods.

"The Anti-Christian: The Curse of Christianity" is Nietzsche's scathing critique of Christianity and its influence on Western culture and morality. Although most English translations have rendered the title as "The Anti-Christ ", the German word for "Christian" is "Christ", so this work can also be translated as "The Anti-Christian". As he is referring to himself as the "ender of Christianity", not only the Biblical Antichrist, this translation communicates the intent of the title better. The text is one of Nietzsche's last works, and it delivers a critique of Christianity in a sharp, polemical and extremely hostile style. Nietzsche denounces Christianity as a religion of weakness and resentment, arguing that it has suppressed the natural instincts and vitality of humanity in favor of a morality based on guilt, self-denial, and the promise of an afterlife. He contrasts the Christian worldview with his own vision of a life-affirming trans-humanist, Dionysian philosophy that celebrates strength over goodness, creativity over truth, and the embrace of the Nihilism of material existence. "The Antichrist" is an attempt by Nietzsche to repudiate all religious and metaphysical dogma, ironically asserting metaphysical dogmas of his own, a reality on which Heidegger comments on extensively. Nietzsche's father was a Protestant pastor, and many of his family members were pastors (including his brother-in-law), so the image of Christianity he attacks here is clearly the Protestant one. Eastern Orthodoxy is not mentioned at all, and Catholicism is rarely mentioned. He writes in a letter to Peter Gast: "It occurred to me, dear friend, that the constant inner debate with Christianity in my book must be strange, even embarrassing to you; but it is the best piece of ideal life that I have really come to know; from childhood I have followed it into many corners, and I believe I have never been mean in my heart against it. Finally, I am the descendant of whole generations of Christian clergymen." "Der Antichrist' was written in 1888 but first published in 1895. This publication was part of the larger volume "The Will to Power," a collection of Nietzsche's unpublished writings that were assembled and edited by his sister, Elisabeth Förster-Nietzsche, and published by C.G. Naumann in Leipzig. The text is one of Nietzsche's final works, and it delivers a critique of Christianity in a sharp and polemical style. This new 2024 translation of the original 1889 German manuscript includes a new afterword by the translator, a timeline of Nietzsche's life and works, an index with descriptions of his key concepts, and summaries of his complete works. This translation is designed to allow the armchair philosopher to engage deeply with Nietzsche's works without having to be a full-time Academic. The language is modern and clean, with simplified sentence structures and diction to make Nietzsche's complex language and arguments as accessible as possible. This Reader's Edition also contains extra material that amplifies the manuscript with autobiographical, historical and linguistic context. This provides the reader a holistic view of this very enigmatic philosopher as both an introduction and an exploration of Nietzsche's works; from his general understanding of his philosophic project to an exploration of the depths of his metaphysics and unique contributions. This edition contains: • An Afterword by the Translator on the history, impact and intellectual legacy of Nietzsche • Translation notes on the original German, Latin and Greek manuscript • An index of Philosophical concepts used by Nietzsche with a focus on Existentialism and Phenomenology • A chronological list of Nietzsche's entire body of works • A detailed timeline of Nietzsche's life and works

This exceptionally readable and down-to-earth handbook is destined to become the definitive guide to psychobiographical research, the application of psychological theory and research to individual lives of historical importance. It brings together for the first time the world's leading psychobiographers, writing lucidly on many of the major figures of our age - from Osama Bin Laden to Elvis Presley. The first section of the book addresses the subject of how to construct an effective psychobiography. Editor William Todd Schultz introduces the field, provides valuable definitions of good and bad psychobiography, discusses an optimal structure for biographical data. Dan McAdams explores the question of what psychobiographers might learn from current research in personality psychology. Alan Elms delivers wise advice on the tricky subject of theory choice in psychobiography. William Runyan asks why Van Gogh cut off his ear, and in the process explains how one evaluates competing interpretations of the same event in a subject's life. And Kate Isaacson describes a template for use in multiple-case psychobiography. Never before has method in psychobiography been so clearly and explicitly addressed. Those just getting started in the field will find in Section One a detailed roadmap for success. The remaining sections of the book are composed of richly engaging case studies of famous artists, psychologists, and politicians. They address compelling questions such as: What are the subjective origins of photographer Diane Arbus's obsession with freaks? In what ways did the early loss of Sylvia Plath's father affect her poetry and presage her suicide? Out of what painful life experience did James Barrie drive himself to invent Peter Pan? Why did Elvis experience such difficulty singing the song "Are You Lonesome Tonight?" What accounts for Bin Laden's radicalism, Kim Jong Il's paranoia, George W. Bush's conflict with identity? Why did Freud go so disastrously astray in his analysis of Leonardo? What made psychologist Gordon Allport's meeting with Freud so pungently significant? How did the loss of his father determine major elements of Nietzsche's philosophy? These questions and many more get answered, often in surprising and incisive fashion. Additional chapters take up the lives of Harvard operationist S.S. Stevens, Erik Erikson, Edith Wharton, Saddam Hussein, Truman Capote, Kathryn Harrison, Jack Kerouac, and others. Within each case study, tips are proffered along the way as to how psychobiography can be done more cogently, more intelligently, and more valuably.

Discusses the ideas and impact of 27 atheists, agnostics, and secularists whose ideas have shaped society over the last 200 years. In the opinion of many critics and philosophers, we are entering an age of atheism marked by the waning of Christian fundamentalism and the flourishing of secular thought. Through alphabetically arranged entries written by expert contributors, this book profiles 27 iconic figures of unbelief whose ideas have shaped American society over the last 200 years. Included are entries on influential figures of the past, such as Albert Einstein and Voltaire, as well as on such contemporary figures as Richard Dawkins and Sam Harris. Each entry discusses the ideas and lasting significance of each person or group, provides sidebars of interesting information and illuminating quotations, and cites works for further reading. The volume closes with a selected, general bibliography. Students in social studies and history classes will welcome this reference as a guide to the ideas central to the American separation of Church and State and to many of the political debates at the heart of society today. Each entry discusses the ideas and lasting significance of the person or group, provides sidebars of interesting information and quotations, and closes with a list of works for further reading. The volume ends with a selected, general bibliography. Students in history and social studies classes will welcome this reference as a guide to the American separation of Church and State and to the ideas central to contemporary political debates.

This book reveals how major figures connected with modern music projected their own immorality into the field of music which has been the main vehicle of cultural revolution in the West. For the first time ever, a unified theory of music and cultural revolution links the work of figures like Wagner, Nietzsche, Schoenberg, Jagger and others to show the connection between the demise of classical music and the rise of rock 'n' roll. Beginning with Nietzsche's appropriation of Wagner's opera Tristan and Isolde, music became the instrument for cultural upheaval. What began at the barricades of Dresden in 1849 found its culmination at Woodstock and Altamont and the other Dionysian festivals of 1969. The author shows the connection between the death of classical music and the rise of the African sensibility which Nietzsche saw as the antidote to Wagner prostrating himself before the cross in Parsifal. Nietzsche prophesied the end of the age of Christ/Socrates and the return of the spirit of music to philosophy. That return took place at the end of 1969 at an abandoned racetrack outside of San Francisco, and the world has never been the same.

A dazzling new collection of essays—on reading, writing, form, and thought—from one of America’s master writers. It begins with the personal, both past and present. It emphasizes Gass’s lifelong attachment to books and moves on to the more analytical, as he ponders the work of some of his favorite writers (among them Kafka, Nietzsche, Henry James, Gertrude Stein, Proust). He writes about a few topics equally burning but less loved (the Nobel Prize–winner and Nazi sympathizer Knut Hamsun; the Holocaust). Finally, Gass ponders theoretical matters connected with literature: form and metaphor, and specifically, one of its genetic parts—the sentence. Gass embraces the avant-garde but applies a classic standard of writing to all literature, which is clear in these essays, or, as he describes them, literary judgments and accounts. Life Sentences is William Gass at his Gassian best.