Resentment And The Feminine In Nietzsche S Politico Aesthetics

Nietzsche's remarks about women and femininity have generated a great deal of debate among philosophers, some seeing them as ineradicably misogynist, others interpreting them more favorably as ironic and potentially useful for modern feminism. In this study, Kay Picart uses a genealogical approach to track the way Nietzsche's initial use of "feminine" mythological figures as symbols for modernity's regenerative powers gradually gives way to an increasingly misogynistic politics, resulting in the silencing and emasculation of his earlier configurations of the "feminine." While other scholars have focused on classifying the degree of offensiveness of Nietzsche's ambivalent and developing misogyny, Picart examines what this misogyny means for his political philosophy as a whole. Picart successfully shows how Nietzsche's increasingly derogatory treatment of the "feminine" in his post-Zarathustran works is closely tied to his growing resentment over his inability to revive a decadent modernity.

Nietzsche's remarks about women and femininity have generated a great deal of debate among philosophers, some seeing them as ineradicably misogynist, others interpreting them more favorably as ironic and potentially useful for modern feminism. In this study, Kay Picart uses a genealogical approach to track the way Nietzsche's initial use of "feminine" mythological figures as symbols for modernity's regenerative powers gradually gives way to an increasingly misogynistic politics, resulting in the silencing and emasculation of his earlier configurations of the "feminine." While other scholars have focused on classifying the degree of offensiveness of Nietzsche's ambivalent and developing misogyny, Picart examines what this misogyny means for his political philosophy as a whole. Picart successfully shows how Nietzsche's increasingly derogatory treatment of the "feminine" in his post-Zarathustran works is closely tied to his growing resentment over his inability to revive a decadent modernity.

Although Nietzsche has been considered by some critics to be a misogynist for his treatment of woman, women, and the feminine, Frances Nesbitt Oppel offers a radical reinterpretation of the philosopher's ideas on sex, gender, and sexuality. In Nietzsche on Gender: Beyond Man and Woman, she argues that a closer reading of Nietzsche's texts and rhetorical style (especially his use of metaphor and irony), as well as his letters and notes, shows that he was strategically and deliberately dismantling dualistic thinking in general, not only the logical hierarchies of western thought (God/human, heaven/earth, mind/body, reason/emotion, ethos/pathos) but also the assumed gender opposition of man/woman. In the process, she pulls the rug out from under the accusation of his alleged misogyny. Oppel's is the first study to combine recent speculations in gender study and queer theory with an in-depth analysis of Nietzsche's texts. This approach enables her to break through the impasse in feminist studies that has stalled for so long on the question of his misogyny, to redirect attention to the importance he gives to human creativity and self-fashioning rather than convention, and to gesture toward a future human sexuality beyond rivalry and resentment in favor of a sensual materialism in relationship with others and the earth. Oppel concludes that for Nietzsche, breaking the gender barrier liberates human beings as individuals and as a species to love themselves, each other, and their earthly home as they choose. By emphasizing the physical and material stuff of human existence (bodies and the earth), she says, Nietzsche reclaims for all humanity concepts that have been traditionally associated with "woman" and the feminine. No longer seen as a strong masculine hero, Nietzsche's "superman" becomes a supreme human achievement: the complete acceptance of time, change, and mortality in which human beings will possess the best characteristics of each gender in themselves. Nietzsche on Gender should be equally engaging for readers interested in Nietzsche in particular and in sexual politics and in philosophy and literature more generally.

In this innovative work of autoethnography, Caroline Picart weaves across letters, diary entries, newspaper articles, and visual art in an attempt to reconcile her personal experience with her professional identity as a philosopher and scientist living in the U.S. In part a dialogue with her past and ancestry-she was raised in the Philippines and educated in England and the United States-and in part a scholarly analysis, Picart asks what it means to be defined as a member of a specific "race," especially as a "foreigner" married to an American, living within multi-cultural America. Inside Notes From the Outside wrestles with issues that have loomed over anyone who has had to come to terms with concrete, pragmatic questions regarding identity within the interacting spheres of race, gender, class, and power. Based on the premise that discourse regarding these issues tend to be cast into a relationship of powerful vs. powerless, the author contends that power is not a fixed thing, but a subtle, complex matrix that shifts over time. A thoughtful approach toward issues of cultural difference, Inside Notes From the Outside provides a sincere and uniquely interior perspective on identity formation.

Figuring the Feminine examines the female body as a means of articulating questions of literary authority and practice within the cultural spheres of the Iberian Peninsula (both Romance and Semitic) as well as in the larger Latinate literary culture. It demonstrates the centrality in medieval literary culture of the gendering of rhetorical and hermeneutical acts involved in the creation of texts and meaning, and the importance of the medieval Iberian textual tradition in this process, a complex multicultural tradition that is often overlooked in medieval literary scholarship. This study adopts an innovative methodology informed by current theories of the body and gender to approach Hispanic literature from a femininst perspective. Jill Ross offers new readings of medieval Hispanic texts (Latin, Castilian, and Hebrew) including Prudentius' Peristephanon, Gonzalo de Berceo's Milagros de Nuestra Señora, Shem Tov of Carrión's Battle Between the Pen and the Scissors, and several others. She highlights ways in which these texts contribute to the understanding of gender in medieval poetics and foreground questions of literary and cultural import. Figuring the Feminine argues that the bodies of women are crucial to the working out of such questions as the unsettling shift from orality to literacy, textual instability, cultural dissonance, and the resistance to cultural and religious hegemony.

Political Writings of Friedrich Nietzsche is an anthology that gathers together, for the first time, the political commentary and writings found throughout Nietzsche's corpus. Included is an historical introduction which demonstrates that Nietzsche was an observer of and responded to the political events which defined the Bismarckian era.

Focusing on recent postmodern examples, this is a collection of essays reviewing the history of the horror film and the psychological reasons for its persistent appeal.

Much as Nietzsche has gained in popularity during the last century, his poetry still has not received the scholarly attention it deserves. On closer scrutiny, his aposiopetic style, along with the labyrinthine and self-referential nature of his writings, subtly hint toward the recurring and parallel presence of poetry in his writings. This fact cannot be ignored, and his poetry should therefore be included in any reading of Nietzsche. This study investigates Nietzsche's poetic output while simultaneously regarding him as a poet-philosopher. This reading allows juxtaposing all Nietzschean key concepts while avoiding the temptation to simplify Nietzsche by centering his thought on any particular one. The author ends by highlighting a hitherto neglected term that allows a simultaneous reading of Nietzschean keywords while also including the essential notions of movement, flux, and play.