In my thesis I examine the editorial theory and practice of the Nietzsche-Archives. At the center of the academic debate we find the posthumous edition Der Wille zur Macht, firstly published 1901 as Friedrich Nietzsches magnum opus. 1906 a new edition was published, which has been described by Nietzsche-scholars as canonical. The editors Elisabeth Förster-Nietzsche and Heinrich Köselitz manipulated the literary remains of Friedrich Nietzsche. The Nietzsche-scholars interpret these textual corrections and interventions differently.

Through the notions of the untimely (l'intempestif) and untimeliness (intempestif) this paper seeks to gain a better understanding of the problematic surrounding and determining the concept of time in Deleuze. By tracing Deleuze's development of the concept of the untimely through Nietzsche and Kant, we are allowed to concretize the concept of time as pertaining to an experience of modernity (modern life), thus enabling us to better determine the place it holds within the philosophy of Deleuze itself - as a constitutive and productive problematic relating directly to the activity of thinking and being philosophically..

In the following essay I offer an analysis of the concept of genealogy in the works of Friedrich Nietzsche and Michel Foucault. The genealogical is illuminated as a critical approach, a period and a method. Taking as a point of departure Foucault?s description of genealogy as a historico-philosophical method, with which we can approach the question of how we constitute ourselves as human beings, by analyzing our ideas about knowledge, morals and the self as an acting subject, I go back to Nietzsche, from where Foucault derives his genealogical project. By analyzing how Nietzsche examines the three domains of genealogy, found in Foucault?s description ? knowledge, morals and the subject ? I thereby present a way to read, understand and use the works of Nietzsche, a reading of Nietzsche which at the same time brings out some of the core topics, offering a more profound understanding of Foucault?s genealogical project.

women. The womens social movements for emancipation and equality within marriage created both freedom and anxiety among the population. A Swedish suffragette, Ellen Key was in the forefront to form opinions that reached the population. In addition, she also became a friend to the Swedish journalist and writer Hjalmar Soderberg. In this way, Key influenced Soderbergs social knowledge and writing.

The thesis examines the nineteenth century German philosopher and philologist Friedrich Nietzsche?s early notion of how a word is generated in the process of perception. It does so by looking at the ?metaphorical transitions? Nietzsche talks about in the essay ?Über Wahrheit und Lu?ge im außermoralischen Sinne? (?On Truth and Lie in an Extra-MoralSense?). According to the relevant passage in ?On Truth and Lie?? an image is first created as a metaphor for a stimulus and a word is then created as a metaphor for the image.

The metaphor has been among us since a very long time, but despite over 1.000 years of reflection it is still uncertain how one should understand the concept. There are few, if any, doubts how to understand the definition of metaphor, but is it possible to find a real distinction between the metaphorical and the non-metaphorical? In this essay I seek an answer to when a metaphor is a metaphor or when it is instead a generally accepted concept of how something actually is. I will use previous research on the topic from Aristotle, Friedrich Nietzsche, Paul Ricoeur and George Lakoff and Mark Johnson. These persons have given me a wide perspective and approach to the metaphor ? and when a word should be considered as a metaphor or not.

The aim of this essay is to discuss the meaning of the human and its possible overcoming in Friedrich Nietzsche?s doctrine of the eternal recurrence of the same, with Martin Heidegger?s readings of Nietzsche as point of departure.According to Heidegger, Nietzsche?s doctrine of the eternal recurrence of the same represents the end of occidental metaphysical thinking. The thought concludes a thinking of being as the presence of beings, where the original question of being was never developed out of its own ground.But at the heart of this interpretation, often considered ?violent?, lies the question of whether man is able to think being out of his finitude. This is the question I will unfold, through a reading of Nietzsche?s thought of the eternal recurrence of the same, as it is presented in his Thus spoke Zarathustra, as an attempt to think beings in their being beyond a ?humanization? of them, expressed in transcendental aims, purposes and categories.

AbstractThis paper is about the philosophies created by Henry David Thoreau (1817-1862) and Friedrich Nietzsche (1844-1900). The purpose is to show the high degree of similarities between Thoreau?s and Nietzsche?s philosphy.At first glance, it seems far-fetched to suggest an affinity between them; the differences in style and choice of subjects, have most certainly contributed to the fact that very few comparisons so far have been made. There is no evidence that one experienced any influence over the other, neither writer seems to have been aware of the other. Also their different areas of use during the 20th century, may have influenced the almost total lack of search for affinity.

This essay describes my work as a director in a specialized orientation within psychodrama, surrealistic psychodrama. Using the language and performance techniques of theater and under the guidance of a director, psychodrama creates an improvised narrative or story. The essay describes several dramas I have directed, reflecting on my actions and choices as a director and group leader. I examine whether my working method has allowed me to be spontaneous and creative, which I believe the example of "The dangerous bear" demonstrates. The process enabled me to establish trust and receptivity so that a newly constituted group dared to investigate conflicts in symbolic ways associated with illness and death.

Uppsatsen undersöker på vilket sätt konstnärerna Caspar David Friedrich och Marcus Larsons konst influerats av epoken romantiken samt om deras bildkonst kan ha kopplingar till den gotiska litteraturens tematik..

With a hermeneutical method using narratology this thesis is interpreting the auteure Lars von Trier´s discussed movie Antichrist. On one hand within the limits of the hermeneutic Paul Riceours analysis of structure is used to reconstruct the narrative of the film out of the different part of discourses that I have construed in my first reading to find out a deeper comprehension of the relation between the characters and their relations to the different discourses. On the other hand the discourses which extracts out of His and Hers actions and statements are related to the clues that I´ve found out from interviews with von Trier regarding Antichrist where he, among other things, touches upon philosophical work of Friedrich Nietzsche and his own disregard about protestantism and religion. All in all this first phase of interpretation is termed the different horizons which I finally interprete and coalesce with my subjects comprehension on a metadiegetic and meta-metadiegetic level. By this a ?fusion of horizons? in the sense of Hans-Georg Gadamer can take place, which directly leads into the big scene of Relevations.

In this essay I trace the historical theme in Djuna Barnes?s Nightwood, stressing the importance of the concept of forgetfulness in the text. Read alongside Nietzsche?s On the Use and Abuse of History for Life as well as his later thoughts on genealogy, the novel can be seen to concern itself with that same dilemma of history that he articulates in his philosophy. That is: how not to be overburdened by historical knowledge to the point where it petrifies life and prevents any real and novel action, and how at the same time, to make oneself conscious of ones own historicity, so as not to be governed to much by the past.I argue that Robin inhabits what Nietzsche would call the unhistorical state, whereas the other characters, in contrast, struggle with their relation to the past.

Purpose and framing of questions.The objective of this study has been to problematize the concept of "health" by studying the philosopher Nietzsche's writings on the subject and by analyzing four PE teachers' thoughts on his view of health. This has been achieved by examining the following questions: What types of health does Nietzsche describe, and how are these promoted and inhibited according to him? How does a Nietzschean view of health stand visavi the one expressed by the Swedish national curriculum? What do teachers think about the Nietzschean concept of health and its potential applicability in physical education?Theory and Method.The literary study had a hermeneutic approach and was conducted according to a qualitative analytical method, in addition the so-called three-step method was used to create a definition of "health" on the basis of Nietzsche's use of the term. The source material consisted of Nietzsche's overall philosophical writings (ca 2600 pages) in order to give a complete picture of his view of health. The four interviews consisted of open enquiries, which were conducted according to a qualitative interviewing technique.

This paper analyses the character judge Holden in Cormac McCarthys novel Blood Meridian through an ethical perspective. The author uses several methods to analyze the character ethically, such as the western-genre, McCarthys authorship, evil as an ethical term and Friedrich Nietzsche's theory the Übermensch. The author then uses a selective group of scenes and chapters from the novel to highlighting the distinctive ethical characteristic of judge Holden. The author finds judge Holden to be the very principle of violence and blood shedding, defending and distributing these principles in his words and his actions throughout the novel. Triumphantly proclaiming his victory, judge Holden embodies the principle that whoever has the power to perform any action has then the moral right to do so.

This essay describes my work as a director in a specialized orientation within psychodrama, surrealistic psychodrama. Using the language and performance techniques of theater and under the guidance of a director, psychodrama creates an improvised narrative or story. The essay describes several dramas I have directed, reflecting on my actions and choices as a director and group leader. I examine whether my working method has allowed me to be spontaneous and creative, which I believe the example of "The dangerous bear" demonstrates. The process enabled me to establish trust and receptivity so that a newly constituted group dared to investigate conflicts in symbolic ways associated with illness and death.