Número Actual


Con el esfuerzo que supone toda iniciativa de edición en la Argentina, arribamos al número dos de Instantes y Azares. Escrituras Nietzscheanas.
 Este número abre con un artículo de uno de nuestros asesores, Massimo Cacciari, que parece iniciarse allí donde finalizaba su libro El Archipiélago, señalando que ningún pensamiento podría decir algo del ultrahombre, pero agregando, en nota a pie de página, qu e tal vez existe un ícono del mismo: la figura del Resucitado. Tal vez una “molesta proximidad” para muchos nietzscheanos (la de Jesús y el ultrahornbre), pero que Cacciari enhebra desde el hilo de la “virtud que se da” que anuncia Zarathustra. Seguimos publicando en este número, como en el anterior, las conferencias de las jornadas Nietzsche 2000, en este caso, la de Carmen Pardo, referida a la música, y la que operó como “partenaire” de la misma, de Mónica B. Cragnolini (en esa modalidad de “diálogo” directo

El Jesús de Nietzsche

Against the “ordinary” interpretation of Nietzsche’s anti- Christianity, this paper attempts to establish the dífferences between jesus, Christ and Christianity in the German thinker’s work. In this sense, Jesus not only is the opposite of the Übermensch, but it represents a ring in the chaín leading to ir. While the free spirit (Freigeist) is still an expression of the “power” of the will to power, the figure of the Übermensch represents its counterfigure: deep clown the wiU to power cannot be but a counterstríke of itself, will to renounce, “liberation” of itself. It is at this point that the jesus “that is self-giving” is closer to the Übermensch.

Armonías de una filosofía quebrada

This paper analyzes the relationship between music and philosophy in Nietzsches thought, wit h an 1871 posthumous fragment as a starting point. With his critique of Schopenhauerian will, the philosopher not only would be alteríng the relationship between music, feeling and thought in Schopenhauer, but he would ar the sarne time be mining the Platonic statement that philosophy was the finest music. By establishing the link between borh types of representation, that of feelings and that of words, and keeping them at a dístance of the inscrutable of music, the philosopher would be warning that not even by finding the adequate tone will speech ever be identified with music, The relationship between music and words would consist in what Nietzsche calls tragic, an “Apollinian elucidation (Verdeutlichung) of the Dionysian”.

La música “entre” las palabras

The paper takes a startíng point in Nietzsche’s considerations on music by statíng that those contained in The Birth of Tragedy correspond partly lo Schopenhauerían metaphysics. In Schopenhauer’s view, music eludes representation inasmuch as ir belongs to the phenomenal world, but “represents” that which cannor be represented and, in that sense, what exceeds every representational gender. Schopenhauerian music is still expression of a noumenon , and therefore seems closer to the music of the absolure that which attempts to express an ·’Other”. After readin~ Gerber, evely Janguage is for Nietzsche “artistic language”, so that the dichotomies in Tbe Birtb o/ Tragedy (AIx>lünianism-Dionysianism, music-word) are no longer valid, This article atternpts lo show that, in this sense, the music “in tune” with Nietzsche’s thought would be closer to absolute, music, inasmuch as it is non-representational music.

Los usos de Nietzsche: Foucault y Deleuze

This article presents the “uses of Nietzsche” in twentieth century French philosophy. The author distinguishes three moments in Nietzsche’s reception: fram 1900 to 1930, from 1930 to 1960 (G. Battles, R. Caillois, P. Klossowski), fram 1960 onwards (Foucault, Deleuze). The paper focuses especially on this third moment: Nietzsche’s influence on the concept of genealogy in Foucault, and on the notions of difference and repetition in Deleuze.

De la vía del pensamiento creador: Nietzsche y Deleuze

Nietzsche is dead, However, the ietzschean wink still casts its líght on philosophy, art, politics, science and other forms of thought. He is a posthumous thinker, one whose work is entangled in different debates on conternporary philosophy and which exerts a peculiar fascination in many authors. Gilles Deleuze is one of those thinkers who reassume the legacy of Nietzsche’s hammer, using his thought to produce something new, instead of trying to raise Nietzsche’s concepts as a standard. He uses them as a toolbox rhat enables him to project his thought unto vast territories where he lets “weeds” grow, a “rizome” between both efforts at rhinking. In this paper we will try to outline some points of contact between Deleuze’s philosophy and Nietzsche’s, We will focus on “thought” as a philosophical concept and its function as the creative activity par excellence, characteristic to both thinkers, The Nietzschean view is the kind

El estilista. Afirmación y multiplicidad en un paisaje de humanismo extenuados

The text proposes an approach to the notion of style. lt traces a movement that goes from Nietzsche to contemporary thinkers who looked into the relation between writing and life. Style is thought of as a non- knowledge of the body in motion that is formed by a will of the thought. The result is a residue tbat alters grammar and disrupts its law.

El cristianismo como paradigma de dominación

Most of Nietzsche´s philosophy is built up against Christianity. However, the conception of christianity underlying it is not merely a “doctrine” but a “philosophical tool or category” used to describe the development of Western history. Taking thus into account, far from being the “religion of love”, Christianity becomes an expression of “moral resentment” that ends in a form of “nihilism”.

Mediodía en la montaña

Come in and see, you night animals, you owls that keep Minerva company while she presides over all scholarly activity. Come in and watch with burning voluptuosity and cold fright: I will show you what I saw as a mole , after having been a mole for so long, always a mole, while I travelled my singular underground paths. Come in and see, toss indecision away. Step inside, and if you dare to spy into my paths, you will see the animals as they take the eternal kingdom of the spider to trial, You will see how that tyrannical tarantula, who always judges and punishes, was on that occasion questioned. Come in and see, step inside, judge by yourselves what happened at noon that day. After much burrowing the ground I bring you afable that has never been toldo See how they fight violently and fervently: the tiger and the

El proceso trágico de creación (El nacimiento de la tragedia)

The reference to the phrase in The Birth of Tragedy´s “An Attempt at Self-Criticism” that asserts that the book is based on an artist’s metaphysics is commonplace in Nietzsche criticism. In spite of this, a very small proportion of the work devoted to the text is done from a perspective that focuses on so me of the many reflections regarding artistic production. In this paper we therefore attempt to show, from a perspective neglected by criticism, the strong relations between such artist’s metaphysics and the tragic process of creation. With this purpose, we will examine the specificity of the two artistic tendencies -Apollinian and Dionysian- and their relations to the artistic disciplines and literary gentes, as well as Nietzsche’s position in relation to the tradition of Gennan poetry.

Yo, Nietzsche (o una máscara más de Dionisos)

Philosophy -as the “emancipating science of the spiIit”- generates an explosion which causes the immediate deconstruction of the singular identity and enables the philosopher to state “I am all the names of History” by accessing the “underground” and inexpressible activity of desire. There is no such thing as an ego but a “plural subjectivity” -a “plurality of masks” that we, tbe artists, have not just the possibility but also the duty to create ami destroy periodically and incessantly.

Borges, lector monstruoso. Nietzsche y Borges, una vez más

Dos nombres

Siempre en el límite

El aquí ausente: Federico Nietzsche en Macedonio Fernández

Nietzsche y el pensamiento político de Lugones (1923-1930)


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Noticias de libros