Friedrich Nietzsche

A tragedy is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character or cast of characters. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain [that] awakens pleasure," for the audience. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.

Originating in the theatre of ancient Greece 2500 years ago, where only a fraction of the works of Aeschylus, Sophocles and Euripides survive, as well as many fragments from other poets, and the later Roman tragedies of Seneca; through its singular articulations in the works of Shakespeare, Lope de Vega, Jean Racine, and Friedrich Schiller to the more recent naturalistic tragedy of Henrik Ibsen and August Strindberg; Nurul Momen's Nemesis' tragic vengeance & Samuel Beckett's modernist meditations on death, loss and suffering; Heiner Müller postmodernist reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophers—which includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, Lacan, and Deleuze—have analysed, speculated upon, and criticised the genre.

Existentialism is a family of philosophical views and inquiry that explore the human individual's struggle to lead an authentic life despite the apparent absurdity or incomprehensibility of existence. In examining meaning, purpose, and value, existentialist thought often includes concepts such as existential crises, angst, courage, and freedom.

Existentialism is associated with several 19th- and 20th-century European philosophers who shared an emphasis on the human subject, despite often profound differences in thought. Among the 19th-century figures now associated with existentialism are philosophers Søren Kierkegaard and Friedrich Nietzsche, as well as novelist Fyodor Dostoevsky, all of whom critiqued rationalism and concerned themselves with the problem of meaning. The word existentialism, however, was not coined until the mid 20th century, during which it became most associated with contemporaneous philosophers Jean-Paul Sartre, Martin Heidegger, Simone de Beauvoir, Karl Jaspers, Gabriel Marcel, Paul Tillich, and more controversially Albert Camus.

This is a list of writings and other compositions by German philosopher Friedrich Nietzsche.

Friedrich Nietzsche (1844–1900) developed his philosophy during the late 19th century. He owed the awakening of his philosophical interest to reading Arthur Schopenhauer's Die Welt als Wille und Vorstellung (The World as Will and Representation, 1819, revised 1844) and said that Schopenhauer was one of the few thinkers that he respected, dedicating to him his essay Schopenhauer als Erzieher (Schopenhauer as Educator), published in 1874 as one of his Untimely Meditations.

Since the dawn of the 20th century, the philosophy of Nietzsche has had great intellectual and political influence around the world. Nietzsche applied himself to such topics as morality, religion, epistemology, poetry, ontology, and social criticism. Because of Nietzsche's evocative style and his often outrageous claims, his philosophy generates passionate reactions running from love to disgust. Nietzsche noted in his autobiographical Ecce Homo that his philosophy developed and evolved over time, so interpreters have found it difficult to relate concepts central to one work to those central to another, for example, the thought of the eternal recurrence features heavily in Also sprach Zarathustra (Thus Spoke Zarathustra), but is almost entirely absent from his next book, Beyond Good and Evil. Added to this challenge is the fact that Nietzsche did not seem concerned to develop his thought into a system, even going so far as to disparage the attempt in Beyond Good and Evil.

Early forms of perspectivism have been identified in the philosophies of Protagoras, Michel de Montaigne, and Gottfried Leibniz. However, its first major statement is considered to be Friedrich Nietzsche's development of the concept in the 19th century, influenced by Gustav Teichmüller's use of the term some years prior. For Nietzsche, perspectivism takes the form of a realist antimetaphysics while rejecting both the correspondence theory of truth and the notion that the truth-value of a belief always constitutes its ultimate worth-value. The perspectival conception of objectivity used by Nietzsche sees the deficiencies of each perspective as remediable by an asymptotic study of the differences between them. This stands in contrast to Platonic notions in which objective truth is seen to reside in a wholly non-perspectival domain.

In philosophy, genealogy is a historical technique in which one questions the commonly understood emergence of various philosophical and social beliefs by attempting to account for the scope, breadth, or totality of discourse, thus extending the possibility of analysis. Moreover, a genealogy often attempts to look beyond the discourse in question toward the conditions of their possibility (particularly in Michel Foucault's genealogies). It has been developed as a continuation of the works of Friedrich Nietzsche. Genealogy is opposed to the Marxist use of ideology to explain the totality of historical discourse within the time period in question by focusing on a singular or dominant discourse (ideology).

For example, tracking the lineages of a concept such as 'globalization' can be called a 'genealogy' to the extent that the concept is located in its changing constitutive setting. This entails not just documenting its changing meaning (etymology) but the social basis of its changing meaning.

Master–slave morality (German: Herren- und Sklavenmoral) is a central theme of Friedrich Nietzsche's works, particularly in the first essay of his book On the Genealogy of Morality.

Nietzsche argues that there are two fundamental types of morality: "master morality" and "slave morality", which correspond, respectively, to the dichotomies of "good/bad" and "good/evil". In master morality, "good" is a self-designation of the aristocratic classes; it is synonymous with nobility and everything powerful and life-affirming. "Bad" has no condemnatory implication, merely referring to the "common" or the "low" and the qualities and values associated with them, in contradistinction to the warrior ethos of the ruling nobility. In slave morality, the meaning of "good" is made the antithesis of the original aristocratic "good", which itself is relabeled "evil". This inversion of values develops out of the ressentiment the weak feel toward the powerful.

"God is dead" (German: Gott ist tot [ɡɔt ɪst toːt] ; also known as the death of God) is a statement made by the German philosopher Friedrich Nietzsche. The first instance of this statement in Nietzsche's writings is in his 1882 The Gay Science, where it appears three times. The phrase also appears in the first section, that titled the Prologue, of Nietzsche's Thus Spoke Zarathustra, and again in Chapter 25, The Pitiful, of the longer portion, Zarathustra's Discourses.

The meaning of this statement is that since, as Nietzsche says, "the belief in the Christian God has become unbelievable", everything that was "built upon this faith, propped up by it, grown into it", including "the whole [...] European morality", is bound to "collapse".

The Apollonian and the Dionysian are philosophical and literary concepts represented by a duality between the figures of Apollo and Dionysus from Greek mythology. Its popularization is widely attributed to the work The Birth of Tragedy by Friedrich Nietzsche, though the terms had already been in use prior to this, such as in the writings of poet Friedrich Hölderlin, historian Johann Joachim Winckelmann, and others. The word Dionysian occurs as early as 1608 in Edward Topsell's zoological treatise The History of Serpents. The concept has since been widely invoked and discussed within Western philosophy and literature.

In Greek mythology, Apollo and Dionysus are both sons of Zeus. Apollo, son of Leto, is the god of the sun, art, plague and disease, of rational thinking and order, and appeals to logic, prudence and purity and stands for reason. Dionysus, son of Semele, is the god of wine, dance and pleasure, of irrationality and chaos, representing passion, emotions and instincts. The ancient Greeks did not consider the two gods to be opposites or rivals, although they were often entwined by nature.

The will to power (German: der Wille zur Macht) is a concept in the philosophy of Friedrich Nietzsche. The will to power describes what Nietzsche may have believed to be the main driving force in humans. He never systematically defined it, leaving its interpretation open to debate. His use of the term can be summarized as self-determination, the concept of actualizing one's will onto oneself or one's surroundings, and it coincides heavily with egoism.