By Jill Marsden
This publication explores the inventive percentages for philosophy created through Nietzsche's sustained mirrored image at the phenomenon of ecstasy. From The beginning 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 notion through analyses of such voyages in ecstasy as Kant, Schopenhauer, Schreber, and Bataille.
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Additional info for After Nietzsche: Notes Towards a Philosophy of Ecstasy
This is why he pursues an active destruction of nihilism rather than a nihilistic deconstruction. If the ﬁnite animal is the beast of ﬁnality – of goals, projects and ends – ecstasy impacts as a self-annihilating power that dispossesses and transﬁgures. Let it be recalled that it is only when nihilism is intensiﬁed, when the desire to know becomes the impetus for the exacerbation of itself that a return to unknowing is realized. The enigmatic desire for the eternal return of the same, encountered ecstatically at the point of collapse, is a thought which takes itself as its own object, wills to have it again as it was and is to all eternity, eternally ﬂooding back.
Interpreted metaphysically, this conception of the human seems exemplary of selfpreservative values yet, interpreted libidinally in terms of Apollinian rapture a rather different picture begins to emerge. 34 After Nietzsche In characterizing the Apollinian and Dionysian as ‘artistic energies that burst forth from nature itself without the mediation of a human artist’, Nietzsche complicates the classical conception of art as mimesis by failing to rigorously distinguish art from nature. Such a gesture inhibits any precipitate determination of art as agent governed, a point Nietzsche underscores by signalling the absence of the human artist from any mediating role in the emergent process.
Those who would seek to dismiss sexual taboos and advocate a return ‘to the good old days of animalism’ ﬁll Bataille with a genuine sense of dread. On his account, man differs from the animal in that he is able ‘to experience certain sensations that wound and melt him to the core’ (ME 140) but like Nietzsche with his fascination for slave morality, Bataille regards human nature as an ingenious aberration of matter and resists valorizing the pure spontaneity of the natural order – itself an abstraction.
After Nietzsche: Notes Towards a Philosophy of Ecstasy by Jill Marsden