By Joao Constancio, Maria Joao Mayer Branco, Celine Denat, Luís Sousa, Luis Enrique de Santiago Guervos, Andrea Bertino, Tom Bailey, Chiara Piazzesi, Jaanus Soovali, Luca Lupo, Bartholomew Ryan, Maria Cristina Fornari
Nietzsche's metaphor of the spider that spins its cobweb expresses his critique of the metaphysical use of language - however it additionally means that ‟we, spiders‟, may be able to spin diversified, life-affirming, more fit, non-metaphysical cobwebs. This publication is a set of 12 essays that attention not just on Nietzsche's critique of the metaphysical assumptions of language, but in addition on his attempt to exploit language another way, i.e., to create a ‟new language‟. it's from this point of view that the ebook considers such issues as recognition, the self, metaphor, intuition, affectivity, type, morality, fact, and data. The authors invited to give a contribution to this quantity are Nietzsche students who belong to a few of crucial study facilities of the ecu Nietzsche-Research: Centro Colli-Montinari (Italy), GIRN (Europhilosphie), SEDEN (Spain), Greifswald study workforce (Germany), NIL (Portugal).
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Additional info for As the Spider Spins: Essays on Nietzsche’s Critique and Use of Language
36 Through dualistic oppositions (such as good and evil, true and false, natural and artificial or proper and improper) it is easy to allow oneself to ignore a big part of what is real, because as we overvalue one of the terms to the detriment of the other we tend to neglect the totality characterised by the latter. In other words, the faith in the truth of one sole interpretation leads us to neglect other possibilities of thought; the belief in the proper character of a certain form of discourse leads us to reject all other forms of expression for being inadequate, to such an extent that “the way seems as good as blocked for certain other possibilities of interpreting the world” (BGE 20/JGB 20).
To this first idea we must add a double analysis concerning the name and the concept of metaphor itself. Indeed we should insist on the fact that the narrow sense usually accorded to the notion of metaphor is in itself metaphorical: if, in a first instance, phora designates a spatial movement, its use to designate a linguistic and semantic displacement is in effect the result of a metaphor. In this case, the choice of using this term is by no means irrelevant: this choice constitutes a good example of a word whose “proper” meaning appears to be “only metaphorical” when one makes the effort of looking closer.
Therefore, one should use language in an artistic way, so as to escape from feeling nauseated (NL 1872–73, KSA 7, 37, editors’ translation). To create “one’s own” language does not mean to create a new idiom, but to know how “to use language in an artistic way”. It means to revivify and renew the usages of language and of the pre-existing “treasure of words and expressions” – and all this, in order to reach new ways of thinking. As Nietzsche will note in The Wanderer and his Shadow, in relation to language, creation should not be understood as the addition of new, previously unknown elements, of neologisms.
As the Spider Spins: Essays on Nietzsche’s Critique and Use of Language by Joao Constancio, Maria Joao Mayer Branco, Celine Denat, Luís Sousa, Luis Enrique de Santiago Guervos, Andrea Bertino, Tom Bailey, Chiara Piazzesi, Jaanus Soovali, Luca Lupo, Bartholomew Ryan, Maria Cristina Fornari