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“The woman was his second mistake”: Rereading "The Anti-Christ" through "The Death of God"

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The Forbidden Mechanism. Etching, AI art Introduction “The woman was God’s second mistake” ( The Anti-Christ , §48). Few lines from Nietzsche’s writings have attracted such indignation. Frequently cited as evidence of Nietzsche’s disdain for women, this statement has fueled accusations of misogyny and been mobilized to dismiss his philosophy as poisoned by personal prejudice. Yet to read it only at the surface level is to miss its deeper resonance. What if the remark is not a crude insult, but part of Nietzsche’s broader critique of Christianity, priestly morality, and the collapse of divine authority? In the arc of his thought, especially the proclamation that “God is dead” ( The Gay Science , §125), the figure of woman takes on a symbolic dimension. She becomes the mythical embodiment of knowledge, disruption, and rebellion—the very forces through which humanity undermined the God that created it. Read this way, Nietzsche’s scandalous phrase dramatizes not misogyny but the trag...

From Voice to Supplement: Derrida, Nietzsche, and the Critique of Logocentrism

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The Academy. AI art Introduction From Plato to Rousseau, including Hegel and Husserl, Western philosophical tradition has long upheld a hierarchy that privileges speech over writing. This preference is not merely technical or historical—it reflects a metaphysics of presence, where speech is associated with truth, origin, and being. In Of Grammatology , Jacques Derrida names this structure phonocentrism and subjects it to radical critique. However, as this article will argue, Friedrich Nietzsche had already begun to subvert these values, not through a theory of signs, but through a genealogy of culture and thought. His reading of tragic art, the rise of rationalism, and the figure of Socrates anticipates crucial insights of Derrida’s deconstruction. This article outlines a philosophical trajectory that connects both thinkers in their critique of the structural violence inherent in logocentric reason. Derrida and Phonocentrism: A Metaphysical Structure Derrida observes that Wester...

Between Language, Image, and Music: Nietzsche, Pindar, and Heine’s Stylistic Legacy

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Collage d’un penseur intempestif. AI generated Introduction In §6 of The Birth of Tragedy , Friedrich Nietzsche makes a decisive observation for the aesthetics of language: in Greek cultural history, two fundamental linguistic currents can be distinguished—one that imitates the world of appearances, and another that follows the musical principle. This distinction, embodied in the contrast between Homer and Pindar, not only structures Nietzsche’s thinking about art but also helps us understand his own philosophical style: rhythmic, lyrical, fragmentary, closer to music than to logic. The German philosopher not only states these ideas but embodies them. This article explores that tension between word and musical force, between representation and rhythm, also attending to the influence of Heinrich Heine on his style, as well as the legacy this vision left in 20th-century philosophy and literature. Homer and Pindar: Two Linguistic Worlds Nietzsche proposes in the aforementioned p...