The aim of this MA thesis was to analyze the correspondences and differences between the individual philosophers and writers from the loosely formed intellectual group of Euro- American pragmatism. The thesis utilizes a chronological approach, starting with the early signs of transatlantic pragmatism in Immanuel Kant's philosophy, and traces this development throughout the eighteenth, nineteenth and twentieth century. In addition to the comparison of philosophical similarities and dissimilarities of the examined authors, each chapter also considered the possible uses of pragmatic techniques in pedagogy and education. Therefore, besides the examination of differing epistemologies of writers of transatlantic pragmatism, this thesis also aims to offer educational suggestions, ideas and practical methods for an educator. The first chapter of the thesis is designed to introduce the theme of the work at large. The second chapter of the thesis analyzes the rudimentary signs of pragmatism, in the revolutionary ideas of Immanuel Kant and Johan Gottlieb Fichte. This chapter focuses on the genesis of subjective idealism, subjective category creation and Fichte's Wissenschaftslehre, along with his lectures on vocations. The third chapter surveys the ideas of Ralph Waldo Emerson and his approaches towards the...

Att måla essäistisktDenna uppsats beskriver hur ett konstnärligt samarbetsprojekt utvecklades mellan två konstnärer.Målet med projektet var att komma fram till ett dialogiskt arbetssätt utan att använda det verbalaspråket och beskriver hur arbetet förvandlades från egna monologer till ett måleriskt samtal.Med utgångspunkt i renässansförfattaren Michel de Montaigne och hans arbete med att iessäform reflektera och få kunskap om tillvaron undersöks essäskrivandet både somforskningsmetod och förhållningssätt. Centrala begrepp är Friedrich Nietschzes apollinskt kontradionysiskt och Friedrich Schillers beskrivningar av form-, sinnlig- och lekdrift. Uppsatsen är enmeta-essä med syfte att visa hur ett essäistist arbetssätt kan reflektera och lyfta fram den egna levdapraktiska kunskapen. / Painting essayisticThis essay-form paper depicts the development of an artistic collaboration between two artistswhere the purpose was to come up with a dialogical way of working without using verballanguage. It describes how this work developed from separate monologues to a conversation inpainting.Based in the the renaissance essayist Michel de Montagne and his reflections over andattempts to understand our existence I try to approach the essay as a form that can be utilized asa method as well as an attitude towards this. Central concepts are Friedrich Nietzsche´s »theApollonian» versus »the Dionysian» as well as Friedrich Schiller's descriptions of the formaldrive, the sensuous drive and the play drive. The paper is a “meta essay” about how theessayistic method can be used to reflect over and emphasize personal practical knowledge.Keywords:Essay,

Jacques Derrida a ouvert un nouvel horizon pour concevoir l’écriture, en insistant notamment sur la dynamique de la différence qu’elle met en œuvre. Pour penser cette différence et pour libérer le texte d’un sens présupposé univoque, il sollicite Friedrich Nietzsche, mais sans étudier, pour autant, le lien qui rattache l’écriture de ce dernier à la question du corps. Quant à sa propre conception de l’écriture, il est frappant qu’elle ait été abondamment étudiée, sans que le lien qui l’unit à la question du corps reçoive toute l’attention méritée. Ce présent travail vise donc à penser l’écriture du corps chez Nietzsche et chez Derrida, ou plus exactement entre eux, en étudiant la « corporalisation » de l’écriture et la « textualisation » du corps. Nous montrons que, chacun à sa façon, Nietzsche et Derrida puisent dans l’ambiguïté corporelle pour élaborer de nouvelles dynamiques d’écriture, tout en donnant à penser le corps lui-même en termes d’écriture. Pour étudier ce double geste, nous lisons différents textes de Derrida, à partir desquels nous proposons une réflexion sur l’écriture du corps chez Nietzsche, sans que ce dernier y soit nécessairement mentionné. En effet, c’est l’hospitalité de l’écriture de Derrida elle-même qui invite à une telle démarche, que nous abordons en termes d’intrusion. / Jacques Derrida has opened a new horizon to conceive writing by insisting on the dynamic of “difference” that it implements. To address the question of difference, as well as to liberate the text from a presupposed unambiguous meaning, he solicits Friedrich Nietzsche without examining, however, the link which connects the writing of the latter with the question of the body. As for Derrida’s own conception of writing, what is striking is that while it has been widely studied, its link to the question of the body has not received the attention it deserves. Therefore this present work aims to consider the writing of the body in Nietzsche’s and Derrida’s philosophies, and more precisely between them, by studying the “corporization” of the writing and the “textualization” of the corporeity. We demonstrate that both Nietzsche and Derrida, each in his own way, draw from the body’s ambiguity to develop new dynamics of writing, and think about embodiment, at the same time, in terms of writing. To discuss these two aspects, we read various texts of Derrida, through which we also suggest a reflection on Nietzsche’s writing of the body, without the latter being necessarily mentioned. It is actually the hospitality of Derrida’s writing that allows such a gesture, which could be perceived more in terms of intrusion.

This project compares the career of the early 20th century ballet dancer, Vaslav Nijinsky, to Friedrich Nietzsche’s theory of the tragic arts. In The Birth of Tragedy (1872) and elsewhere, Nietzsche argues that artists play the central role in communal mythmaking and religious renewal; he prescribes the healing work of the “tragic artist” to save modernity from the decadence and nihilism he identifies in scientism, historicism, and Christianity. As a dancer, and especially as a choreographer for the Ballets Russes (1912-1913), Nijinsky staged a kinetic response to modern culture that not only displayed shared concerns with Nietzsche, but also, as I argue, allow him to be interpreted as Nietzsche’s archetypical tragic artist. By juxtaposing the philologist-philosopher and dancer-choreographer as artists, I situate the emergence of Modern Art as a nascent movement still bound to Romanticism even while rebelling against it, and as an attempt to reinterpret art in a mythic (and thoroughly modern) context.

Nietzsche´s work criticizes the existing method of philosophizing which diverts man from his major problems. First of all it is neccessary to deal with human life and to understand what determines life and what defines world. Human life is dominated by the will to power. However it depends, wheather man recognizes the will and wheather he follows this awarness. So far, man has been controlled by emotions which are often considered to be the truth. The will to power predetermines the human evolution to the higher level - the Superman ( Der Übermensch). The Superman is able to implement the will, to become a completely free beeing, controlling everything within his reach - even humanity. The Superman is driven by his own benefits, creating a new morality in which it applies that good is what is useful for life of a Superman. Existing humanity seeks in its weakness support in the faith in God. Only Superman is able to avoid this domination, because for him God is dead. life is what constantly arises and expires in its particular actions. The way of the world is determinatd by the eternal return, which is accepted by a Superman.

This essay provides an analysis of the novel When Nietzsche Wept written by Irvin D. Yalom. The novel takes place during the late eighteen hundred century in Vienna and throughout this essay I explore how Yalom has created a setting, where he has placed some of most prominent philosophers of this time in his fictional world in order to educate the reader about the birth of psychoanalysis and give an alternative version to how it emerged. I argue that Yalom manages to implement different original theories in connection to psychoanalysis to show how the ideas circulating at that point in history contributed to the development of psychoanalysis. The essay compares the original theories of Freud, Breuer and Nietzsche to those brought forward by the characters and illustrates the similarities in order to support Yalom´s alternative version. In conclusion, this essay demonstrates how Yalom has created an alternative version of the development of psychoanalysis by blending original theories with fictive events in order to show how psychoanalysis was a zeitgeist of its time and had more than one founding father.

This is an essay about the swedish modernist writer and poet Gösta Oswald’s novel En privatmans vedermödor. The essay focuses on the question about how he uses the modernist language to portray the subject and main character Mr O. Oswald’s novel and his portrayal of the subject is compared and contrasted to earlier ideas about the subject in the modernist and pessimistic traditions presented by philosophers, e g Friedrich Nietzsche. Oswald’s literary style and ideas are also compared to his contemporary modernist writers, for instance Stig Dagerman. Through a psychoanalytical reading of Oswald’s novel using mostly Jacques Lacan’s theories about language the essay argues that it is a story about the nothingness of the subject. It’s also argued that the environment in the novel and Oswald’s use of mythological and classical motifs from Orpheus, Virgil and Dante enhances the themes of nothingness and the bleak outlook on life in the nihilistic post World War II cultural climate. / <p>Slutgiltigt godkännandedatum: 2023-05-30</p>

尼采作品《查拉圖斯特拉如是說》中的一句：「你要到女人那兒去嗎？別忘記你的鞭子！」使得多數的人認為尼采是一個標準的「厭女主義者」。另外有些人則探究，到底尼采對女性真正的看法是什麼？他崇敬她們嗎？鄙視她們嗎？亦或是兩者皆是？尼采的哲學思想築於個人親身經驗並有著連貫性，唯有對其生平經歷和著作思想有全面徹底的了解，才能客觀的加以評論。 　　檢視19世紀的歐洲，當時的男性確實比女性來的主動，而女性也視愛情為生命中很重要的經驗。如果考慮當時的時代背景因素，尼采在當時對女性所做出的這些批評是可以理解的。他運用一種自我批評和自我嘲諷的手法，將當時社會女人的處境真實的陳述並提出他的見解，希望女人面對自己不利的情況，能夠善用自我的優勢，尋找、創造與提高自我的存在價值，以達到超人的境界。 　　本文從現代女性主義者的觀點出發，針對尼采一生的經歷及其作品中與女性議題相關的重要著作內容加以整理和分析，從而反思尼采論述中對女性觀的真實面目，以及現代女性主義者對他女性觀的評價。 / „Du gehst zu Frauen? Vergiess die Peitsche nicht!“ – wegen dieses Satzes in Friedrich Nietzsches „Also sprach Zarathustra“ veranlasste viele anzunehmen, er sei ein Misogynist. Einige aber versuchen zu ergründen, was genau die Einstellung Nietzsches zu den Frauen ist. Verehrte er sie? Verachtete er sie? Oder beides zugleich? Die Philosophie Nietzsches beruht hochgradig auf eigenen Erfahrungen und hat hierin seine Kohärenz. Das umfassende und vollständige Verständnis jener Lebenserfahrungen und philosophischen Schriften ist mithin Grundvoraussetzung fuer eine objective Diskussion über Nietzsches Philosophie. Betrachtet man das Europa des XIX. Jahrhunderts, so stellt man fest, dass Männer gesellschaftlich aktiver waren als Frauen; diese wiederum betracteten Liebe als wichtige Erfahrung im Leben. Zieht man die damalige gesellschaftliche Situation in Betracht, so wird die von Nietzsche an den Frauen geäusserte Kritik verständlich. Auf selbstkritische und selbstspöttische Art und Weise stellte er die Position der Frauen jener Zeit trefflich dar und bezog Stellung, in der Hoffnung, die Frauen würden ihrer misslichen Lage entgegentreten und lernen ihre Vorteile zu nutzen um ihren Selbstwert zu finden und den Existenzwert ihrer selbst letzlich so zu erhoehen, dass sie ins Reich des Übermenschen transzendieren koennen. Ich versuche im folgenden aus der Perspektive des modernen Feminismus eine Zusammenstellung und Analyse der in seinem Leben gesammelten Erfahrungen und der Teile seines Opus, der sich inhaltlich auf die Frage der Frau bezieht. In Anschluss sollen die tatsächlichen Merkmale des Frauenbildes Nietzschen einem Diskurs unterzogen und der Bewertung seiner Frauensicht durch den modernen Feminismus gegenübergestellt werden.

The thesis treats the subject of how the work of Max Picard, Rainer Maria Rilke and Jan Zahradníček relate. Its unifying element is the motif of salvation, its negative and positive aspect. Picard, Rilke, and Zahradníček perceive the world overfilled with technology and become witnesses of dehumanisation of humans and the related destruction of speech. Their work mirrors this decomposition, but it alongside offers a positive counter movement, an alternative to the age of dominion of technology. A comparative analysis of the specific understanding of the two aspects of salvation also casts light on the reception of Max Picard in their work. The first part deals with the analysis of Heidegger's essence (Wesen) of modern technology (Gestell) and the possibility of alternative revealing (poiésis). It renders the transformation of a human beings and their relationship to things, a transformation diagnosed by Picard, Rilke, and Zahradníček in their work. It thus proposes a context for the observed motif of salvation. The introduction of the first part accounts for a treatise on the loss of a thing which is linked to the penetration of technology and on salvation consisting in paying heed to the inconspicuous state of affairs. The second part opens with the reception of Picard's book Hilter in Our Selves...

[pt] A tese analisa a relação entre arte e pensamento, atuante nas culturas arcaicas, e problematizada pela ruptura da filosofia com o legado mítico-literário, desde o momento grego que instaurou a epistemologia ocidental. Essa relação insere os dois autores destacados — Friedrich Nietzsche e João Guimarães Rosa — no contexto dialógico entre esses dois saberes que os ultrapassa e os transforma enquanto movimento repetitivo e insistente na trajetória do pensamento. A leitura de Nietzsche segue os tópicos apropriados por Gilles Deleuze para considerá-los em contraponto às proposições de Guimarães Rosa, correspondentes às perguntas que resultaram nos conceitos nietzschiano-deleuzianos. A tese observa o interesse desses autores em explorar a linguagem como ambiente de experimentação de seus processos escriturais inovadores. Lança-se o foco crítico sobre o ponto de contato da obra de Nietzsche com a chamada Filosofia do Trágico, momento em que os filósofos alemães modernos debruçaram-se sobre a tragédia, por haverem reconhecido nela uma visão de mundo, um documento de filosofia primeira, na qual estão reveladas questões relevantes sobre a existência, o ser. É nesse ambiente que o pensador se forma filólogo e se torna filósofo, construindo, pelo viés do estilo de escrita, a peculiaridade de seu sistema de pensamento. A potência desse pensamento trágico vem da valorização radical da literatura, o lugar e a verdade do poeta, a arte como máxima afirmação. De outro lado, definindo-se como amante da linguagem, do literário, João Guimarães Rosa passa também a integrar a antiga relação pensamento e arte. Sua escrita articula modos de pensar arcaicos e modernos, resíduos de diferentes tradições orais e experimentos de vanguarda. São observados pontos em que essa escrita constrói novas formulações para os problemas de que os filósofos sempre se ocuparam. A estratégia adotada se dedica a captar momentos nos quais o autor enfrenta, através dos instrumentos especulativos da arte e das práticas rurais cotidianas, questões caras ao que ficou conhecido como filosofia. / [fr] La thèse analyse la relation entre l art et la pensée, active dans les cultures archaïques, et devenue problématique par la rupture de la philosophie avec l héritage mythico-littéraire, à partir de l époque grecque qui instaura l épistémologie occidentale. Cette relation introduit deux auteurs mis en lumière - Friedrich Nietzsche et João Guimarães Rosa –, le contexte dialogique entre ces deux savoirs les dépasse et les transforme, pour traduire un mouvement répétitif et insistant sur la trajectoire de la pensée. La lecture de Nietzsche inspire à Gilles Deleuze les thèmes dont il s est ensuite approprié pour les rapprocher des propositions de Guimarães correspondantes aux questions issues des concepts nietzscho-deleuzien. La thèse observe l intérêt des ces auteurs à explorer le langage comme champs d expérimentation de leurs processus d écriture innovatrice. Elle développe un focus critique sur la rencontre entre l oeuvre de Nietzsche et la dite Philosophie du Tragique, époque durant laquelle les philosophes allemands se sont penchés sur la tragédie, pour avoir reconnue en elle une vision du monde, un document de philosophie première, dans lequel sont révélées des questions significatives sur l existence, l être. C est dans cet environnement que le penseur apprend la philologie et devient philosophe, construisant, par le biais du style de l écriture, la particularité de son système de pensée. La force de cette pensée tragique vient de la valorisation radicale de la littérature, le lieu et la vérité du poète, l art comme affirmation maximale. D un autre côté, se définissant comme amant de la langue, du littéraire, João Guimarães Rosa vient aussi à intégrer la relation ancienne pensée et art. Son écriture articule des modes de penser archaïques et modernes, restes des différentes traditions orales et d expériences d avant-garde. Sont observés les points avec lesquels cette écriture construit de nouvelles formulations pour les problèmes dont les philosophes se sont toujours occupés. La stratégie adoptée se dédit à capter les moments dans lesquels l auteur affronte, à travers les instruments théoriques de l art et des pratiques rurales quotidiennes, les questions chères, désormais connues comme philosophie.