By Jill Marsden

This e-book explores the innovative chances for philosophy created by means of Nietzsche's sustained mirrored image at the phenomenon of ecstasy. From The start of Tragedy to his experimental "physiology of art," Nietzsche examines the classy, erotic, and sacred dimensions of rapture, hinting at how an ecstatic philosophy is learned in his elusive doctrine of everlasting go back. Jill Marsden pursues the results of this legacy for modern Continental proposal through analyses of such voyages in ecstasy as Kant, Schopenhauer, Schreber, and Bataille.

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Extra resources for After Nietzsche: Notes Towards a Philosophy of Ecstasy

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The forms and figures of the dream world are such that we take immediate delight in their showing or Schein. Bedazzled by their resplendence, the beholder is conducted beyond the ‘everyday world’ and a different quality of knowing comes into its own: ‘We delight in the immediate understanding of figure; all forms speak to us; there is nothing inessential or unnecessary’ (BT 1). To the extent that the Apollinian compels the dreamer to take delight in images as images it is an entrancing power, yet Nietzsche is careful to mark the fact that Apollinian pleasure in sensible form must respect a delicate limit: ‘It is essential to include in the image of Apollo that delicate line which the dream image ought not exceed lest it have a pathological effect, in which case semblance [Schein] would deceive us as if it were crude reality’ (BT 1).

In this way, what the body consumes or incorporates becomes the same as itself, a ‘oneness’ exorbitantly generated from diversity. Since the ‘logical’ concept of the self-identical ‘same’ integral to the philosophy of identity is derived from the process of ‘making the same’, it is treated as an entity that has finished becoming: ‘All thinking, judging, perceiving as comparison has presupposed a “positing as same”, earlier still a “making the same”. The making the same is like the incorporation of appropriated material into the amoeba’ (WP 501).

Despite the considerable differences between the exemplars of these perspectives, the ecstatic imperative, if we may call it thus, is to think beyond the opposition between the ‘apparent’ and the ‘true’, not to restore certainty this side of the beyond. It is notable that in this endeavour, a number of influential thinkers have identified the ecstatic with the move beyond metaphysics and with the broader, ongoing attempt to rethink the transcendental. To the extent that the phenomenological movement concerns itself with what Nietzsche so aptly calls ‘the nearest things’, it could be said to have taken inspiration from his attempt to re-evaluate ‘appearance’ after the death of God.

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