Nietzsche’s Birth of Tragedy overcomes the opposition between scientific optimism and Schopenhauerian pessimism with the image of a music-making Socrates, who symbolizes the aesthetic affirmation of life. This article shows how the aesthetic ideal is an illusion whose metaphysical solace undermines itself in being recognized as such, thereby ceasing to be comforting. While I agree with recent commentaries that contest the pervasive Schopenhauerian reading of The Birth, most of these commentaries still support the view that Nietzsche wishes to communicate some (...) fundamental truth about nature or meaning in life. By contrast, I argue that he treats any such truth as a cultural fiction that emerges from the poetic staging of reality, leaving us with a contradiction of appearances deprived of any intelligible ground. (shrink)

Girard has argued that in the opposition between “Dionysus” and “the crucified,” Nietzsche contrasts Christian martyrdom that resolves violence through pacifism with pagan festivals that affirm violence by ritualizing it. In agreement with Girard, this article shows how Heidegger’s discussion of nihilism fails to ethically confront the violence of Nietzsche’s Dionysianism, a criticism that applies equally to Deleuze. However, I argue that Bataille’s reading of Nietzsche confronts the violence in a manner that Girard fails to appreciate. Bataille interprets ritual sacrifice (...) as a drama communicating the loss of identity experienced by those who contemplate the spectacle. Bataille demonstrates the complicity between Dionysian and Judeo-Christian martyrdom insofar as both implicate human beings in the violence of evil that the death of God consummates. (shrink)

In this paper, I discuss how Nietzsche’s critique of nihilism concerns the complicity between Christian morality and modern atheism. I unpack in what sense Schopenhauer’s ascetic denial of the will signifies a return to nothingness, what he calls the nihil negativum. I argue that Nietzsche’s formulation of nihilism specifically targets Schopenhauer’s pessimism as the culmination of the Western metaphysical tradition, the crucial stage of its intellectual history in which the scientific pursuit of truth finally unveils the ascetic will to nothingness (...) that motivates it. I contend that Nietzsche’s critique of Schopenhauer anticipates current scholarly debates around the significance of the nihil negativum and offers a compelling objection against contemporary proponents of philosophical nihilism such as Eugene Thacker and Ray Brassier. (shrink)