Thus Spake Nietzsche

“Dreams.- We have no dreams at all or interesting ones. We should learn to be awake the same way - not at all or in an interesting manner.”

- Nietzsche

Girard félicite Nietzsche d’avoir mis en évidence la singularité du judéo-chrétien qui défend la victime. Mais Nietzsche y voit une différence d’essence seulement morale. Une morale, bien méprisable, vu qu’elle est la revanche sournoise des faibles contre les forts. C’est ce que Nietzsche a appelé la “ morale des esclaves “. Mais pour Girard il ne s’agit pas d’une morale de la foule des faibles contre l’élite des forts. Nietzsche ne voit pas le phénomène de foule mimétique derrière les mythes, dit Girard. L’innocence des victimes, c’est la vérité. Les victimes sont des boucs émissaires désignés par le seul mimétisme violent. Elles sont donc réellement innocentes. Il y a là une coïncidence saisissante de morale et de vérité. La défense des victimes n’est pas un prêchi-prêcha. En proclament la vérité des boucs émissaires, le judéo-chrétien ébranle le système mythique dans son ensemble, car le mensonge dénoncé joue un rôle essentiel dans la culture humaine.

Source: Présentation de la théorie de René Girard, Simon De Keukelaere

"It is said of Nietzsche, after breaking with Lou, entered into a final solitude, walked at night in the mountains that dominate the Gulf of Genoa and lit immense fires there that he watched smolder. I've often thought of these fires and their gleam has danced behind my entire intellectual life. So even though I've sometimes been unjust toward certain thoughts and certain men whom I've met in this century, it is because I've unwillingly put them in front of these fires and they were promptly reduced to ashes." -Albert Camus, Notebooks: 1951-1959

From State of Exile:

"Alas, my brothers, this god whom I created was man-made and madness, like all gods! Man he was, and only a poor specimen of man and ego: out of my own ashes and fire this ghost came to me, and, verily, it did not come to me from beyond."
- Friedrich Nietzsche, Thus Spoke Zarathustra

"Their idols are silver and gold, the work of human hands. They have mouths, but do not speak; eyes, but do not see. They have ears, but do not hear; noses, but do not smell. They have hands, but do not feel; feet, but do not walk; and they do not make a sound in their throat. Those who make them become like them; so do all who trust in them."
- Psalm 115

Friedrich Nietzsche was the modern idol-smasher par excellence. The Jews were the ancient idol-smashers par excellence. The reason Jews are not the modern idol-smashers par excellence is because too many Jews have taken on new idols like  revolution, "the oppressed", the American dream and the nation-state. The difference between ancient Jewish iconoclasm and modern Nietzschean iconoclasm is that the ancient Jewish iconoclasts left one God standing. In the nineteenth century Nietzsche pushed that remaining idol over (it was already toppling thanks to Spinoza and the Enlightenment). Yet the ancient Jews were wiser iconoclasts than Nietzsche. They knew that man needed to worship something, even if it was an empty space in a tabernacle. Nietzsche had too much faith in man's ability to cope with a godless world. If he had lived to see the new idols man would erect in the twentieth century, he might have regretted being so quick to push the old one down. Yet like any good Biblical prophet, he too had his premonitions:

"And it is not only the long-eared and shortsighted who sink to their knees. Alas, to you too, you great souls, it whispers its dark lies.  Alas, it detects the rich hearts who like to squander themselves. Indeed it detects you too, you vanquishers of the old god. You have grown weary with fighting, and now your weariness still serves the new idol. With heroes and honourable men it would surround itself, the new idol! It likes to bask in the sunshine of good consciences - the cold monster!"

Salve!

i am all all for sharing this finding with friends of neechee and film.. Andrey tarkowsky's "Stalker" contains a scene inside the zone, which in my pinion is a direct reference to a poem by neeche: "vereinsamt". It is short before the author falls into the well, and twiche crows fly over the desert landscape in which he stands.

Marvellous pictures in this movie anyway, but that particular image seemed strikingly literary. Waht do you say?

Regards!

jungs' archytypes are forces to be set in relation with and against one another in an effort to undermine the emotional inbalence that brings about psychosis. the idea is pressumably that the concepts therin can be clinicaly or sophisticatedly manipulated from without so as to reverse an individuals perspective on themselves or their situation.

but this active process of willingly rearranging myths for a person, though a relativists dream come true, does not restore control to the person. but rather sublimates them through the myth itself into a particular standpoint. it increases one area of their emotional ressonance, but does it not neccessarily create a polarity from the alternative ressonance?

not just from the polar emotional state, but concievably from the polar relation of archytypes. in otherwords, they become entrenched in a system of good and evil.

precisely by the cementing of the emotions within the frame of archytypes.

and yet, by the will to power, nietzsche id not mean to provide us with an emotional key...or did he?

if he did, it is one designed only to overcome resentment and nothing more, and if he didnt, then what the will to power means is something else entirely. something of the very nature of emotional action towards revealing truth/revealing falsities to be on some other grounds entirely.

and that the expanse of your own grounds.....is a potentialy ceaseless process, so long as one does not confuse your grounds with external definitions. this too is presumably the intended meaning of heideggers contemplation of nothing. seeking to deny emotional keys all together, and yet if everything is the will-to-power, contemplation of nothing, seems, nonsensensical. infact the very idea of nothing, when requiring of a specific absense of a fruit of a specific will, could be merely a sublimation of resentiment, and by no means freedom from it.

This  is experimental direction in a science and the literature through merge of poetry and a science (philosophy). This direction did not exist till now in the pure state. Earlier there was a direction in poetry? Philosophical poetry (Empedocl, V. Solovyov, M.Voloshin, I.Brodsky, O.Khajyam, etc.), but did not exist directions in a science of philosophy in rhyfm philosophical gamble. One of representatives of German classical philosophy F.Schelling, named a similar direction didactic poetry.

The method of rhyming of philosophical positions is entered for popularization and generalization of philosophical questions which arise in connection with disclosing of the basic concepts describing surrounding and a private world of the person. Therefore, in any way it is impossible to name poetry and verses Poesophy, even, in spite of the fact that externally poeses (so I name each separate product in Poesophy) Are similar to verses. In the Poesophy I try to reflect where probably to generalize, and in process of intellectual opportunities to develop, ideas of representatives of philosophy and a science since the most ancient times (an ancient philosophy, and ancient religious doctrines) finishing modern concepts of a postmodernism and poststructuralism and existentialism, not passing thus medieval and German classical philosophy, sociology, Russian historiosophy, and scientific divinity.

By means of poeses, in a cycle Poesophy, I have tried to open such concepts close to everyone person as: time, essence, authority, money, value, conscience, kindly, the true, system, etc. Poesophy is difficult for perception, however it is calculated on the people who are not having intellectual taste to metaphysics in the classical (is textual-speculative) form and to whom it would be reasonably interesting will familiarize with philosophical gamble in more accessible and popular (art) form. Section? Poesophy  It will be probably interesting to such segment of the reader which is inclined to search for the classical maintenance in the new form.

               I think that Poesophy may be intresting for the mass auditory, and I want to offer you the partnership for publishing of Poesophy. It published in internet in Russian edition (http://www.stihi.ru/readers.html?m…), and it published on paper forms in Russia.

 

Will

 

The will is authority above itself,

the authority is will above others.

The will recovers a direction,

and doing the world destiny,

freedom of destiny in the world-

the will inspires in a pressure.

The duty as the center of will -  Good Honour,

freedom as the center of a duty – The good Gospel’s message.

The reason is a duty a measure,

a belief is a freedom’s share,

outside of reason will -belief,

but in reason belief - will.

 

 

 

rs.html?milosvet

Time

 

Time is something an average  between

that the friend the friend is pregnant:

movement and an idea.

The first the last the clothes called time,

dresses in sense.

Temporariness inside of sense - moves,

immovable in sense - It is thought.

I also do the conclusion

that time is think of a seed:

outside of an idea time - movement,

but in an idea movement - time.

 

 

Nietzsche : We are mistaken as to the degree to which we believe ourselves hated or feared: we ourselves may know very well the degree to which we differ from a person, tendency, party, but others know us only very superficially and therefore hate us only superficially. We often encounter goodwill that we find inexplicable; when we understand it, however, it offends us, because it shows we are not being taken with sufficient seriousness.
Suprdialect: LULZ, good 1 NeeChee, U R a Major WIN!!!!1111111