The Sea of Fertility (1969-1971)

https://en.wikipedia.org/wiki/The_Sea_of_Fertility#Volumes

The Sea of Fertility (豊饒の海, Hōjō no Umi) is a tetralogy of novels written by the Japanese author Yukio Mishima. The four novels are Spring Snow (1969),^[1] Runaway Horses (1969), The Temple of Dawn (1970), and The Decay of the Angel (1971).^[2] The series, which Mishima began writing in 1964 and which was his final work, is usually thought of as his masterpiece. Its title refers to the Mare Fecunditatis, a lunar mare. The first English translated editions by Alfred A. Knopf and the Charles E. Tuttle Company featured cover designs by the graphic artist Joseph del Gaudio.

Volumes

1. Spring Snow (春の雪, Haru no Yuki), 1965–1967, published 1969
2. Runaway Horses (奔馬, Honba), 1967–1968, published 1969
3. The Temple of Dawn (暁の寺, Akatsuki no Tera), 1968–1970, published 1970
4. The Decay of the Angel (天人五衰, Tennin Gosui), 1970–1971, published 1971

Shūsaku Endō (1923-1996)

https://en.wikipedia.org/wiki/Sh%C5%ABsaku_End%C5%8D

Partial list of works

• Aden made (アデンまで, "To Aden"): Published in the November 1954 issue of Mita Bungaku, a literary journal of Tokyo's Keio University.^[17]
• 白い人 (White Man) (1955)^[8][18]
• 黄色い人 (Yellow Man) (1955):^[3] A novella in the form of a letter written by a young man, no longer a practising Catholic, to his former pastor, a French missionary.
• 海と毒薬 (The Sea and Poison) (1957):^[3] Set largely in a Fukuoka hospital during World War II, this novel is concerned with medical experimentation carried out on downed American airmen.^[19] It is written with alternating points of view: the bulk of the story is written with a subjective, limited (but shifting) third-person view; three segments are told in first-person view. Inspired by true events,^[20] this novel was made into the 1986 movie The Sea and Poison. Directed by Kei Kumai, it stars Eiji Okuda and Ken Watanabe.
• おバカさん (Wonderful Fool) (1959):^[3] A story about a kind, innocent, and naïve Frenchman visiting post-war Tokyo. Gaston Bonaparte is a Christ-like figure who comes to live with a Japanese family. He befriends a variety of "undesirables" including stray dogs, prostitutes, and a killer. In spite of this unusual behavior he changes everyone he meets for the better.
• 十一の色硝子 (Stained Glass Elegies) (1959): Translated to English in 1984.
• 火山 (Volcano) (1960):^[6] A novel concerning three declining figures: an apostate Catholic priest, the director of a weather station in provincial Japan, and the volcano on which the latter is an expert.
• 私が棄てた女 (The Girl I Left Behind) (1964):^[6] A story of a young man and his mismatches with an innocent young woman. As Endō writes in the foreword to the English translation, one of the characters has a connection with Otsu, a character in Endo's later novel Deep River.
• Ryūgaku (留学, "Foreign Studies") (1965)^[6] Three linked narratives chart the gulf between East and West. Evoking Paris in the 1960s, 17th century Rome, and provincial France in the post-World War II years, Endō acutely conveys the alienation felt by three Japanese students when confronted by the spiritual values and culture of Europe.
• 沈黙 (Silence) (1966):^[6] Winner of the Tanizaki Prize^[6] and Endō's most famous work, it is generally regarded as his masterpiece. Silence has been published in English by Peter Owen Publishers, London. This historical novel tells the story of a Catholic missionary priest in early 17th century Japan, who apostatizes to save the lives of several people, and then becomes a retainer of the local lord, but continues to keep the Christian faith in private. The character is based on the historical figure of Giuseppe Chiara.
  • The book inspired the feature film adaptations Silence (1971) by Masahiro Shinoda, Os Olhos da Ásia (1996) by Portuguese film director João Mário Grilo, and Silence (2016) by Martin Scorsese.^[21][22] The last of these was premiered in Vatican City on November 29, 2016, and was released in the United States on December 23, 2016.
• The Golden Country (1966):^[6] A play featuring many of the characters who appear in the novel Silence.
• Kuronbō (黒ん坊) (1971): A satirical novel inspired by the historical figure of Yasuke, a 16th-century African man who served as a samurai under the daimyo Oda Nobunaga. The novel's title is a Japanese racial slur for black people, equivalent to the N-word in English.^[23][24][25]
• 死海のほとり ("Banks of the Dead Sea") (1973)^[3]
• イエスの生涯 (Life of Jesus) (1973)^[6]
• 口笛をふく時 (When I Whistle) (1974)^[6]
• 鉄の首枷 - 小西行長伝 (Iron Collar - The Story of Konishi Yukinaga) (1977): The biography of Konishi Yukinaga, Toyotomi Hideyoshi's Christian protege, who got caught between Christianity and the samurai code demanding blind obedience to his anti-Christian master.
• 王妃マリーアントワネット (Marie Antoinette) (1979): This book inspired the musical Marie Antoinette by German musical dramatist and lyricist Michael Kunze.
• 侍 (The Samurai) (1980):^[6] A historical novel relating the diplomatic mission of Hasekura Tsunenaga to colonial Mexico and Habsburg Spain in the 17th century. In 1613, a small group of samurai together with a Spanish missionary travel to Mexico, Spain, and eventually Rome. The missionary (Pedro Velasco) hopes to become primate of a Catholic Japan, and his mission is to bargain for a crusade to Japan in return for trading rights.
• 女の一生：キクの場合 (Kiku's Prayer) (1982): A novel set during the final period of Christian persecutions in Japan in the 1860s.
• 女の一生 (Sachiko) (1982): A novel set in Nagasaki during the years between 1930 and 1945 about two young people trying to find love and dealing with their Catholic faith in a period where Japanese Christians were accused of treason disloyalty to their country and Emperor.
• 私の愛した小説 (Novels Loved by Me) & 本当の私を求めて (Search for the Real Me) (1985)^[6]
• スキャンダル (Scandal) (1986):^[6] Set in Tokyo, the book is about a novelist who comes face to face with a doppelgänger of himself, who engages in lewd sexual activity. While the protagonist attempts to find his "impostor", a journalist dogs the author, searching for a scoop.
• 深い河 (Deep River) (1993):^[6] Set in India, it chronicles the physical and spiritual journey of a group of five Japanese tourists who are facing a wide range of moral and spiritual dilemmas. Working among the poor, sick, and dying, one of the group finds the man that she seduced long ago at college in an attempt to undermine his faith.
• The Final Martyrs: A series of eleven short stories published in Japan between 1959 and 1985. Translated into English in 2008.

Can we say that we are left with only axiological concerns after the end of metaphysics? (ChatGPT, 2024-2-14)

The assertion that we are left with only axiological concerns after the "end of metaphysics" is a perspective that some philosophers have entertained, but it's not universally accepted. It depends on how one interprets the idea of the end of metaphysics and the implications it carries.

For some thinkers, the end of metaphysics implies a shift in focus away from speculative inquiries about the ultimate nature of reality towards more concrete concerns related to human values, ethics, and practical living. In this view, questions about the nature of reality, existence, and ultimate truth may be deemed unanswerable or irrelevant, leaving ethical and aesthetic considerations as primary philosophical concerns.

This perspective can be seen in certain existentialist philosophies, which emphasize the importance of individual choice, responsibility, and authenticity in the absence of metaphysical foundations. Existentialists like Jean-Paul Sartre and Albert Camus, for example, argued that in a world devoid of inherent meaning or purpose, human beings must create their own values and meaning through their actions and choices.

Similarly, pragmatist philosophers like Richard Rorty have suggested that after the end of metaphysics, philosophy should focus on practical concerns and the improvement of human well-being rather than engaging in speculative metaphysical inquiries.

However, it's essential to note that not all philosophers agree with this view. Some argue that even after the end of traditional metaphysics, philosophical inquiry can still engage with questions about reality, existence, and knowledge, albeit in a different manner or within different conceptual frameworks. Additionally, critics may argue that reducing philosophy to solely axiological concerns overlooks the continued relevance of other philosophical domains, such as epistemology, logic, and the philosophy of science.

Overall, while the idea that we are left with only axiological concerns after the end of metaphysics is a valid perspective within certain philosophical traditions, it is not the only interpretation of the implications of the end of metaphysics, and it remains subject to debate and discussion among philosophers.

Was Nietzsche the first philosopher to propose “the end of metaphysics”? (ChatGPT, 2024-2-14)

Friedrich Nietzsche is often associated with the idea of the "end of metaphysics," particularly due to his famous proclamation "God is dead" and his critiques of traditional metaphysical systems. However, Nietzsche was not the first philosopher to propose the end of metaphysics in some form. The notion has roots in earlier philosophical developments and has been articulated by various thinkers throughout history.

One of the earliest proponents of the end of metaphysics was Immanuel Kant, whose critical philosophy significantly influenced Nietzsche. Kant's critique of traditional metaphysics, particularly in his work "Critique of Pure Reason," challenged the possibility of obtaining knowledge beyond the realm of possible experience. Kant argued that traditional metaphysical inquiries, such as questions about the existence of God or the immortality of the soul, were beyond the limits of human cognition.

Additionally, the idea of the end of metaphysics can be found in certain strands of ancient Greek philosophy. For instance, the Skeptics, such as Pyrrho of Elis, questioned the possibility of obtaining certain knowledge about the ultimate nature of reality, leading to a suspension of judgment on metaphysical matters.

However, Nietzsche's articulation of the end of metaphysics is distinctive due to his emphasis on the cultural and existential implications of the collapse of traditional metaphysical frameworks. Nietzsche's critiques of religion, morality, and philosophy aimed to challenge the prevailing values and assumptions of Western civilization, which he saw as rooted in outdated metaphysical beliefs. His declaration "God is dead" symbolized the loss of belief in a transcendent, metaphysical foundation for morality and meaning, which he believed necessitated a reevaluation of values based on human creativity and will to power.

While Nietzsche was not the first philosopher to propose the end of metaphysics, his ideas had a profound impact on subsequent philosophical thought and continue to be influential in contemporary discussions about the nature and limits of metaphysical inquiry.

User What does “the end of metaphysics” mean? (ChatGPT, 2024-2-14)

The concept of "the end of metaphysics" refers to various philosophical viewpoints that suggest that traditional metaphysical questions may be unanswerable or that the pursuit of metaphysical inquiry has reached its limits. This idea has been influential in different philosophical traditions and has been interpreted in various ways. Here are some key interpretations:

1. Logical Positivism and Analytic Philosophy: In the early 20th century, logical positivists and proponents of analytic philosophy argued that many traditional metaphysical questions were meaningless because they could not be empirically verified or logically justified. According to this view, metaphysical statements were considered either nonsensical or devoid of cognitive content, and thus the domain of metaphysics was considered to have reached its end.

2. Existentialism and Phenomenology: Existentialist and phenomenological philosophers, such as Martin Heidegger and Jean-Paul Sartre, also explored the idea of the "end of metaphysics," but in a different sense. They argued that traditional metaphysical frameworks, which often sought to provide ultimate explanations or groundings for existence, had become inadequate or obsolete. Instead, they proposed a "phenomenological ontology" that focused on the lived experience of existence without attempting to reach beyond what can be directly experienced.

3. Postmodernism and Deconstruction: Postmodernist and deconstructive thinkers further challenged traditional metaphysical systems by highlighting the inherent instability and contingency of language, meaning, and truth. According to these perspectives, attempts to provide definitive metaphysical explanations or foundations are ultimately futile because language and concepts are inherently fluid and context-dependent.

4. Pragmatism: Pragmatist philosophers, such as Richard Rorty, also questioned the relevance of traditional metaphysical inquiries. They argued that instead of seeking ultimate metaphysical truths, philosophy should focus on practical concerns and the improvement of human experience. From this perspective, the "end of metaphysics" entails a shift away from speculative metaphysical speculation toward pragmatic engagement with concrete problems and issues.

Overall, the idea of "the end of metaphysics" reflects a recognition that traditional metaphysical inquiries may face significant challenges or limitations, whether due to logical constraints, existential concerns, linguistic considerations, or pragmatic priorities. However, it's important to note that this does not necessarily entail the complete abandonment of metaphysical questions but rather a reevaluation of their scope, methods, and significance in philosophical inquiry.

What’s the relationship between metaphysics and axiology? (ChatGPT, 2024-2-14)

Metaphysics and axiology are two distinct branches of philosophy, but they are interconnected in several ways.

Metaphysics deals with fundamental questions about the nature of reality, existence, and the universe. It explores concepts such as being, time, space, causality, and the ultimate nature of reality itself. Metaphysical inquiries often delve into abstract concepts that are not directly observable but are inferred through reasoning and reflection.

Axiology, on the other hand, is the branch of philosophy concerned with the study of value, including both ethics (the study of moral values) and aesthetics (the study of beauty and artistic value). Axiology seeks to understand what is valuable or worthwhile in the world and how we can evaluate and prioritize different values.

The relationship between metaphysics and axiology lies in the fact that our understanding of reality and existence influences our values and vice versa. Here are a few points of connection:

1. Foundational Values: Metaphysical beliefs often underpin our fundamental values. For example, if one believes in a metaphysical framework that emphasizes the existence of an objective moral reality, this belief can shape one's ethical values.

2. Nature of Reality and Value: Metaphysical inquiries about the nature of reality can inform our understanding of what is valuable or worthwhile. For instance, if one believes in a materialistic metaphysics that asserts the primacy of physical matter, this may influence one's valuation of material wealth or tangible experiences over spiritual or intangible pursuits.

3. Teleological Views: Metaphysical perspectives on teleology (the study of purpose or goal-directedness in nature) can intersect with axiological considerations. For instance, if one adopts a teleological metaphysical view that posits an ultimate purpose or goal for existence, this may influence one's ethical values by providing a framework for determining what actions or outcomes are morally desirable.

4. Aesthetic Values: Metaphysical beliefs about the nature of beauty and artistic value can intersect with aesthetics. For example, different metaphysical perspectives may lead to different interpretations of what constitutes beauty or artistic merit, influencing aesthetic judgments and preferences.

Overall, while metaphysics and axiology are distinct branches of philosophy, they are interconnected insofar as our understanding of reality shapes our values, and our values, in turn, can influence how we conceptualize and interpret the nature of reality.

Axiology

https://www.rep.routledge.com/articles/thematic/axiology/v-1

Axiology is the branch of practical philosophy which studies the nature of value. Axiologists study value in general rather than moral values in particular and frequently emphasize the plurality and heterogeneity of values while at the same time adopting different forms of realism about values.

5：17 AM (2/14/24) (星期三) (Negativity vs Vitality) (Nihilism)

你要理解，2011 啟程，四年 2015，是一個節點，意思是說，2024 復啟程，四年後 2028，也會是一個節點；一條菸；家俬極簡；生生不息，的意思是說，生死不息；CAMA，尋豆師；尼采，1879-1888，1889-1900，此二個十年，經歷為何？為什麼，plateau 等同 intensity，因為高原來自板塊擠壓，以致高聳突出；為什麼，plateau 等同 assemblage，因為高原的高聳突出，比起高山陡峭，山谷侷促，更足以發生，相對完整的生態系統；比如說，青康藏高原，藏人在彼千萬年，自然自成一個系統，直到共匪入藏；Aco 說，十年後，量子運算，可結合，人工智能；包子造神 (cult of personality)，遂有一百四十七種 (重複的) 思想；柯文哲造丑，遂有一百四十七個 (重複的) 笑話；我熱愛雀聖一，遂 (重複) 聽了一百四十七遍；六十七十不求人；你要理解，興國停車，十二小時，一百元；尼采缺筆記本，記了右欄，捨不得換，又記了左欄，從頭到尾，捨不得換，又從尾到頭，意思是說，這些筆記本，恰當的「時空錯亂」；Gadamer 引述 Heidegger 說，Nietzsche broke me；昨晚跟 Aco 說，小野吳念真，無法讓人感動，意思是說，讓人感動，是藝術之為藝術，唯一判準；為什麼，無法讓人感動，你要理解，有感方有動，意思是說，感動是創作者和其讀者，之間的互動所致，比如說，尼采早到了兩個世紀，所以他的讀者，尚未誕生；意思是說，你可以說，當我說，小野吳念真，無法讓人感動，的問題在我，但是你要理解，創作者是主觀的，讀者亦然，兩個主觀，是否相應，無法勉強；所以，正確的公平的說法是，小野吳念真，無法讓我感動；昨晚我說，感動是一個意外，意思是說，你無法強求，或有意為之；意思是說，你只能做好真實的自己，不失本色，意思是說，蠕蟲就是蠕蟲，不要裝龍；渾身上下都是家樂福，意思是說，我熱愛 (春日) 家樂福；柯文哲在台北一日，我不入台北；小屁孩，關鍵在屁；意思是說，小孩天真無邪，屁則讓人無法恭維；這是為什麼，王滬寧不敢放屁的原因；意思是說，歷三朝皇帝，憋了四十年的屁，連司馬遷，都沒有聞過；海德格的轉折，起因是讀了尼采，因而為了 overcome (the end of) metaphysics，提出 ereignis (event)；意思是說，其後講事件者，皆由此起，皆必須回到此說起；Walter Kaufmann，顯然花了太大力氣，翻譯引介尼采，以致無力原創；Robert Solomon，則陷在梳理二十世紀中葉的存在主義，亦無力原創；這是事後才知道的；意思是說，我們每一個人，都陷在屬於自己的某個時空，遂只能完成那麼一點，事後才知道的無關緊要的事情；為什麼十九世紀末，廿世紀初，形上學來到它的終點，因為工業革命以降，二三百年，工具理性，已經將人類過去兩千年，好不容易才掰出來的，那麼一點，形上學的殿堂，拆解破壞殆盡，這點可以說明，為什麼尼采專挑基督教神學麻煩，形上學包括宇宙論和本體論，意思是說，本體論留給海德格來修理，宇宙論則留給懷德海來玩；意思是說，形上學，是確定玩不下去了，以致，Jasper 只剩 axiology 可玩，Manu Bazzano 亦然，所以問題是，axiology 能否撐起形上的世界，當形上學早已破產？你要理解，axiology 意在，教我們怎麼做一個好人，意思是說，它可沒有打算，叫我們怎麼做一個，裡面有形上學系統支撐的好人，意思是說，你裡面有沒有形上學系統支撐，跟你是否是一個好人，沒有必然的關係；甚至，我們常見，裡面有形上學系統支撐者，才有本事做惡；意思是說，惡，恰來自形上學系統；當然，善亦然；但是，善比較沒有學問，或比較沒有大道理好說；小結，惡需要傑出的形上學系統，方可集中力量辦大事；善只是一時義起不忍，遂跳進水裡火坑救人；意思是說，善必然衝動，惡則需要謀略籌劃；問題，metaphysics vs axiology，兩者關係為何？

Robert C. Solomon (1942-2007)

https://en.wikipedia.org/wiki/Robert_C._Solomon

Was Sigmund Freud influenced by Nietzsche? If yes, in what ways? (ChatGPT, 2024-2-13)

Yes, Sigmund Freud was influenced by Friedrich Nietzsche, particularly in regards to certain philosophical ideas that influenced his development of psychoanalytic theory. While Freud didn't directly credit Nietzsche as a primary influence, scholars have noted several connections between their ideas.

1. The Unconscious: Nietzsche's concept of the unconscious mind, though not developed in the same depth as Freud's, hinted at the idea of hidden drives and motivations influencing human behavior. Freud's elaboration on the unconscious was central to his psychoanalytic theory.

2. Repression and Sublimation: Both Freud and Nietzsche discussed the concept of repression, albeit from different perspectives. Freud emphasized the role of unconscious repression in the development of neuroses, while Nietzsche explored the idea of the sublimation of instincts and desires into socially acceptable forms.

3. Sexuality and Civilization: Nietzsche's thoughts on the tension between human instincts and the demands of civilization resonate with Freud's theories, particularly his ideas about the role of sexuality in shaping individual psychology and society.

4. Will to Power: Nietzsche's concept of the "will to power" has parallels with Freud's theories about the driving forces behind human behavior, particularly in his emphasis on unconscious desires and motives.

5. Critique of Religion and Morality: Both Freud and Nietzsche were critical of traditional religious and moral beliefs, seeing them as sources of repression and psychological conflict.

While Freud didn't explicitly acknowledge Nietzsche as an influence, the similarities in their ideas suggest that Nietzsche's philosophy may have played a role in shaping Freud's thinking, especially in terms of his understanding of human psychology and behavior.

Lou Andreas-Salomé (1861-1937)

https://en.wikipedia.org/wiki/Lou_Andreas-Salom%C3%A9

• Friedrich Nietzsche in seinen Werken, 1894.

Did Heidegger’s reading of Nietzsche precipitate his thinking about event in the 1930s? (ChatGPT, 2024-2-13)

Martin Heidegger's reading of Friedrich Nietzsche did indeed play a significant role in the development of his philosophical thinking, particularly concerning the notion of the "event" or Ereignis. Heidegger's engagement with Nietzsche's thought, especially in the 1930s, was instrumental in shaping his understanding of being and temporality.

Heidegger's interpretation of Nietzsche focused on several key themes, including the will to power, the eternal recurrence, and the notion of overcoming metaphysics. However, it was Nietzsche's idea of eternal recurrence that particularly influenced Heidegger's concept of the event.

For Heidegger, the event (Ereignis) represents a fundamental happening or occurrence that discloses the truth of being and grants significance to beings within the world. Heidegger's understanding of the event is deeply intertwined with his reflections on time, history, and human existence.

In his later works, such as "Contributions to Philosophy" (1936-1938) and "Mindfulness" (1938-1940), Heidegger explores the idea of the event as the unfolding of being in its historical and temporal dimensions. The event is not a mere occurrence in time but rather the very condition of possibility for beings to appear and be meaningful within a world.

While Heidegger's concept of the event cannot be reduced solely to his reading of Nietzsche, Nietzsche's thought certainly provided Heidegger with important insights and inspirations for his own philosophical project. Heidegger's engagement with Nietzsche contributed to his development of a distinctive understanding of temporality and historical existence, which became central to his later philosophy.

Was Nietzsche influenced by Karl Marx? (ChatGPT, 2024-2-13)

While Friedrich Nietzsche and Karl Marx were contemporaries and both influential figures in 19th-century European thought, there's little evidence to suggest direct influence between the two. Their philosophical orientations and intellectual projects were quite distinct, and they were often critical of each other's ideas.

Nietzsche, a German philosopher, is best known for his critiques of traditional morality, religion, and the concept of truth, as well as his ideas about the "will to power" and the Ubermensch (overman or superman). His works are deeply individualistic and existential, emphasizing the importance of personal autonomy, creativity, and the pursuit of individual excellence.

On the other hand, Karl Marx, a German philosopher, economist, and political theorist, is famous for his critiques of capitalism and his advocacy for socialism and communism. Marx focused on historical materialism, class struggle, and the critique of political economy, with the goal of analyzing and ultimately transforming social and economic structures to create a more just society.

While there are some thematic overlaps between their critiques of society and the status quo, such as their criticisms of traditional morality and their concern with power dynamics, Nietzsche and Marx approached these issues from fundamentally different perspectives. Nietzsche was skeptical of socialism and collective movements, viewing them as potential threats to individual freedom and creativity, while Marx saw socialism as a means of liberating individuals from oppressive social and economic conditions.

While it's possible that Nietzsche may have been aware of Marx's ideas given their shared intellectual milieu in 19th-century Europe, there's little evidence to suggest that Nietzsche was directly influenced by Marx or that Marx engaged significantly with Nietzsche's work. Their philosophical projects were largely distinct, and they each had their own intellectual circles and influences.

What did Keiji Nishitani mean by self-overcoming of nihilism? (ChatGPT, 2024-2-13)

Keiji Nishitani was a Japanese philosopher associated with the Kyoto School, a group of thinkers who blended Western philosophical ideas with Eastern thought, particularly Zen Buddhism. Nishitani's concept of the "self-overcoming of nihilism" is deeply rooted in his understanding of nihilism and his response to it.

Nihilism, in broad terms, refers to the belief that life lacks inherent meaning, value, or purpose. It can arise as a result of various philosophical, cultural, or existential crises, leading individuals to confront feelings of despair, emptiness, or meaninglessness.

Nishitani's notion of the "self-overcoming of nihilism" involves transcending nihilism through a transformative process of self-awareness and spiritual awakening. Rather than accepting nihilism as an ultimate truth or succumbing to its despair, Nishitani suggests that individuals can overcome nihilism by recognizing its limitations and embracing a deeper, more profound understanding of existence.

For Nishitani, this self-overcoming entails a radical shift in perspective, a realization that the very emptiness or lack of inherent meaning perceived in nihilism is itself pregnant with potential for profound insight and awakening. Through practices such as meditation, self-reflection, and engagement with existential questions, individuals can come to recognize the interconnectedness of all things and experience a sense of profound belonging within the cosmos.

In essence, the self-overcoming of nihilism involves moving beyond the limited, dualistic perspectives that characterize nihilism towards a more holistic, integrated understanding of reality—one that embraces the dynamic, ever-changing nature of existence and finds meaning and purpose within the very heart of uncertainty and impermanence.

See also 

Chapter 5 introduces Nietzsche’s philosophical themes and their connection with the overcoming of metaphysics and nihilism. Nietzsche’s work aims at deconstructing metaphysical categories and principles, and I describe Nietzsche’s genealogical and nihilistic theories as elements within an overall attack on metaphysics. For Nietzsche, genealogy exposes the historical contexts that metaphysics has relied upon and concludes that there are no external or eternal solutions to metaphysical questions. Consequently, any foundation that is judged by Nietzsche to be necessary is judged on the basis of life and not on metaphysical reason. Nietzsche questions foundational principles and the meaning and truth that those principles support. Nietzsche’s thought attempts to restructure meaning in service of life and not what he considers to be the life-denying capacity of Christianity and Platonic metaphysics. For Nietzsche, nihilism results from judging the world on metaphysical principles that human beings no longer believe in. He responds by embracing nihilism as a freedom that liberates humanity from illusory metaphysical structures. Nietzsche celebrates this newfound freedom as a power whereby one can set one’s own values. The philosopher’s task is therefore to create values in conjunction with ‘life’. (Heidegger and Nietzsche: Overcoming Metaphysics, Louis P. Blond, 2010, p. 8)

Chapter 6 examines Heidegger’s reading of Nietzsche in his Nietzsche lectures and publication of 1936–46. For both Heidegger and Nietzsche, nihilism and overcoming metaphysics are equivalent. The overcoming of metaphysics corresponds to what will come after metaphysics reaches its end. (ibid, p. 8)

Chapter 7 examines Heidegger’s summary of his Nietzsche interpretation in the essay ‘Nietzsche’s Word: “God is Dead”’.35 The question that remains is that given the breadth of Heidegger’s critique of metaphysics and nihilism, how do you respond to nihilism? How does Heidegger’s later work build on the overcoming of metaphysics and prepare for what comes after metaphysics? (ibid, p. 9)

Was Alfred Adler influenced by Nietzsche? (ChatGPT, 2024-2-13)

Yes, Alfred Adler, the Austrian psychiatrist and founder of individual psychology, was influenced by the ideas of Friedrich Nietzsche, the German philosopher. Nietzsche's concepts, particularly his emphasis on the will to power and the importance of overcoming obstacles and striving for self-improvement, resonated with Adler's own theories about human motivation and the pursuit of superiority.

Adler, like Nietzsche, believed in the importance of individual agency and the ability of individuals to shape their own destinies. Both thinkers rejected deterministic views of human behavior and emphasized the importance of personal responsibility and self-determination.

Adler's concept of the "will to power" can be seen as directly influenced by Nietzsche, although Adler's interpretation of this concept differs somewhat from Nietzsche's original formulation. For Adler, the "will to power" is not just about dominance over others but also includes the striving for personal mastery and self-actualization.

Overall, while Adler was certainly influenced by Nietzsche, he also developed his own unique theories and perspectives on psychology and human behavior.

The Good Old Days: The Holocaust as Seen by Its Perpetrators and Bystanders (ed. Ernst Klee et al, 1996)

https://www.amazon.com/Good-Old-Days-Perpetrators-Bystanders/dp/1568521332

包子的大計

https://youtu.be/YgsfunOPf2g?si=6rfhDRHc1pifquPX

老蠻說，過去十年，包子連錯八次，從骰子機率而言，這是不可能的事，意思是說，這不是賭運太差，而是包子一以貫之，換句話說，過去十年惡搞，是包子有意為之，毀滅中國，就是包子的大計，老蠻顯然沒有看過杜琪峰的暗戰二，鄭伊健林雪，對賭丟銅板，連丟三百四十七次公，這件事讓賭徒林雪覺悟，因而治癒了，他的病態賭博，精神科教科書，實證醫學，已將此傳奇案例列入，回到包子的大計，你要理解，有意為之，連錯八次，而且還在繼續錯，這是下一盤大棋，需要堅定的信念，清晰的思考，過人的意志，意思是說，這是一件多麼困難的事，意思是說，我們必須假設，包子屌大無腦，做不到這麼偉大的事，意思是說，包子是一個賭運背極的賭徒，需要碰到鄭伊健，來治癒他的賭癮，這就是杜琪峰正在拍的暗戰三，

Guy Pearce (b 1967)

https://en.wikipedia.org/wiki/Guy_Pearce#Filmography

Zone 414 (2021) The Infernal Machine (2022)