As the Spider Spins: Essays on Nietzsche's Critique and Use

Nietzsche's metaphor of the spider that spins its cobweb expresses his critique of the metaphysical use of language - however it additionally means that ‟we, spiders‟, may be able to spin diversified, life-affirming, more healthy, non-metaphysical cobwebs. This ebook is a set of 12 essays that attention not just on Nietzsche's critique of the metaphysical assumptions of language, but additionally on his attempt to exploit language differently, i.e., to create a ‟new language‟. it truly is from this standpoint that the e-book considers such issues as awareness, the self, metaphor, intuition, affectivity, type, morality, fact, and data. The authors invited to give a contribution to this quantity are Nietzsche students who belong to a couple of crucial study facilities of the eu Nietzsche-Research: Centro Colli-Montinari (Italy), GIRN (Europhilosphie), SEDEN (Spain), Greifswald learn workforce (Germany), NIL (Portugal). In 2011 João Constâncio and Maria João Mayer Branco edited Nietzsche on intuition and Language, additionally released by means of Walter de Gruyter. the 2 books supplement one another.

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Extra info for As the Spider Spins: Essays on Nietzsche's Critique and Use of Language (Nietzche Today)

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The creator of language] designates only the relations of things to human beings, and in order to express them he avails himself of the boldest metaphors (Metaphern). The stimulation of a nerve is first translated into an image (Bild): first metaphor (erste Metapher)! This image is then imitated by a sound: second metaphor (zweite Metapher)! And each time there is a complete leap from one sphere into the heart of another, new sphere (TL 1, 144/WL 1). The metaphor is not, in itself, an “image”, nor is it an element amongst other elements of a “pictorial language”, but it is rather the very movement of displacement “from one sphere to the other”, which contributes to produce perceptive images and language.

363 ff. and KGW, II/4, pp. ; see the English translation: Nietzsche (1989), “Description of Ancient Rhetoric” and “The History of Greek Eloquence”, in: F. Nietzsche on Rhetoric and Language, ed. & transl. by S. L. Gilman/C. Blair/D. J. Parent, pp. 2 ff. and 213 ff. 11 “Description of Ancient Rhetoric”, III, p. 21 (KGW, II/4, p. 425): “We call an author, a book, a style ‘rhetorical’ when we observe a conscious application of artistic means of speaking; it always implies a gentle reproof. We consider it to be not natural, and as producing the impression of being done purposefully”.

This also means that we do not need to seek to reduce them to more “proper” conceptual formulae – in which case we would, precisely, risk missing their meaning. If we can still think of valuable distinctions and differences in relation to language, these can only consist in the following: a language can either be habitual and common and, hence, it can give us the illusion of being obvious and natural, or it can be new and involve new modes of expression and an original style. These will be the condition for new modes of thought, but they will also be “difficult to understand”, as Nietzsche regularly indicates in relation to his own texts.

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