Nietzsche intended Twilight of the Idols to serve as a short introduction to the whole of his philosophy, and to be the most synoptic of all his books. A masterpiece of polemic, this `great declaration of war' _targets not only `eternal idols' like Socratic rationality and Christian morality but also their contemporary counterparts, as Nietzsche the `untimely man' goes roaming in the gloaming of nineteenth-century European culture. This brilliant new translation issupplemented by a detailed commentary on one of Neitzsche's most condensed works. - ;`Anyone who wants to gain a quick idea of how b

`Anyone who wants to gain a quick idea of how before me everything was topsy-turvy should make a start with this work. That which is called idol on the title-page is quite simply that which was called truth hitherto. Twilight of the Idols - in plain words: the old truth is coming to an end...'Nietzsche intended Twilight of the Idols to serve as a short introduction to his philosophy, and as a result it is the most synoptic of all his books. Continuing in the spirit of its immediate predecessors On The Genealogy of Morals and The Wagner Case, it is a masterpiece of polemic, _targeting notonly `eternal idols' like Socratic rationality and Christian morality but also their contemporary counterparts, as Nietzsche the `untimely man' goes roaming in the gloaming of nineteenth-century European culture. He allies philosophy with psychology and physiology, relentlessly diagnozing thesymptoms of decadence, and his stylistic virtuosity is such that the sheer delight he takes in his 'demonic' mischief-making communicates itself on every page. A brilliant new translation, this edition provides detailed commentary on a highly condensed and allusive work.

Twilight of the Idols presents a vivid, compressed overview of many of Nietzsche's mature ideas, including his attack on Plato's Socrates and on the Platonic legacy in Western philosophy and culture. Polt provides a trustworthy rendering of Nietzsche's text in contemporary American English, complete with notes prepared by the translator and Tracy Strong. An authoritative Introduction by Strong makes this an outstanding edition. Select Bibliography and Index.

Never one to back away from controversy, Friedrich Nietzsche assails the Christian church in Twilight of the Idols. In this classic work, he sets out to substitute the morality of the Catholic and Protestant churches with that of Dionysian morality. Twilight of the Idols furthermore lays the foundation for key arguments that Nietzsche more fully develops in later writings.

"Twilight of the Idols means that the old truth is on its last legs," declared Friedrich Nietzsche in this 1889 polemic. Forceful in his language and profound in his message, the philosopher delivered the nineteenth century's most devastating attack on Christianity. Intended by Nietzsche as a general introduction to his philosophy, it assails the "idols" of Western philosophy and culture, including the concepts of Socratic rationality and Christian morality. Written while Nietzsche was at the peak of his powers, less than a year before the onset of the insanity that gripped him until his death in 1900, this work's proximity to the end of the author's career renders it a distinctive portrait from his later period. The source of the famous dictum, "Whatever does not kill me makes me stronger," it blazes with provocative, inflammatory rhetoric that challenges readers to reexamine what they worship and why.

Twilight of the Idols. Nietzsche's own unabashed appraisal of the last work intended to serve as a short introduction to the whole of his philosophy, and the most synoptic of all his books, bristles with a register of vocabulary derived from physiology, pathology, symptomatalogy and medicine. This new translation is supplemented by an introduction and extensive notes, which provide close analysis of a highly condensed work.

Twilight of the Idols by Friedrich Nietzsche. Twilight of the Idols, or, How to Philosophize with a Hammer is a book by Friedrich Nietzsche, written in 1888, and published in 1889. Twilight of the Idols was written in just over a week, between 26 August and 3 September 1888, while Nietzsche was on holiday in Sils Maria. About life, the wisest men of all ages have come to the same conclusion: it is no good. Always and everywhere one has heard the same sound from their mouths - a sound full of doubt, full of melancholy, full of weariness of life, full of resistance to life. Even Socrates said, as he died: "To live - that means to be sick a long time: I owe Asclepius the Savior a rooster." Even Socrates was tired of life. What does that prove? What does it demonstrate? At one time, one would have said (and it has been said loud enough by our pessimists): "At least something must be true here! The consensus of the sages must show us the truth." Shall we still talk like that today? May we? "At least something must be sick here," we retort. These wisest men of all ages - they should first be scrutinized closely. Were they all perhaps shaky on their legs? tottery? decadent? late? Could it be that wisdom appears on earth as a raven, attracted by a little whiff of carrion?

Classic, influential study of Greek tragedy.

In Twilight of the Idols, Nietzsche criticizes German culture of the day as unsophisticated and nihilistic, and shoots some disapproving arrows at key French, British, and Italian cultural figures who represent similar tendencies. In contrast to all these alleged representatives of cultural "decadence", Nietzsche applauds Caesar, Napoleon, Goethe, Thucydides and the Sophists as healthier and stronger types. The book states the transvaluation of all values as Nietzsche's final and most important project, and gives a view of antiquity wherein the Romans for once take precedence over the ancient Greeks.

"En el l?timo periodo de su vida lc?ida, Nietzsche resume su lucha contra las falsas concepciones que conforman la tradicin? de la filosofa?, la moral y la religin? de Occidente. Para llevar a cabo tal ataque, el fils?ofo decide analizar aquellos d?olos que han aparecido a lo largo de esa tradicin? como valores supremos que gua?n y regulan un tipo de comportamiento que se corresponde con un modo de vida. Esos d?olos, cuando se les toca con el martillo, suenan a hueco, no son nada ms? que fuegos fatuos que el propio hombre ha introducido en la realidad y que se desvanecen ante la sola mirada atenta de quien los contempla con atencin? y sensatez. El creps?culo de los d?olos es el ocaso de los grandes valores 'eternos' que han dominado una civilizacin? y una forma de vida, un ocaso que tal vez preceda a una nueva aurora llena de promesas, a un cambio de todos los valores." -- del editor."In the last period of his lucid life, Nietzsche sums up his fight against the false conceptions that make up the tradition of philosophy, morality and religion in the West. To carry out such an attack, the philosopher decides to analyse those idols that have appeared throughout that tradition as supreme values that guide and regulate a type of behaviour that corresponds to a way of life. These idols, when struck with a hammer, sound hollow; they are nothing more than will-o'-the-wisps that man himself has introduced into reality and that vanish before the mere attentive gaze of those who contemplate them with attention and common sense. The twilight of the idols is the twilight of the great 'eternal' values that have dominated a civilisation and a way of life, a twilight that perhaps precedes a new dawn full of promise, a change in all values." -- translated from publisher.

Twilight of the Idols  Friedrich Nietzsche [1895] Text prepared from the original German and the translations by Walter Kaufmann and R.J. Hollingdale Twilight of the Idols, or, How to Philosophize with a Hammer (German: Götzen-Dämmerung, oder, Wie man mit dem Hammer philosophirt) is a book by Friedrich Nietzsche, written in 1888, and published in 1889. CONTENTS Preface Maxims and Arrows The Problem of Socrates "Reason" in Philosophy How the "True World" Finally Became a Fable Morality as Anti-Nature The Four Great Errors The "Improvers" of Mankind What the Germans Lack Skirmishes of an Untimely Man What I Owe to the Ancients The Hammer Speaks Maintaining cheerfulness in the midst of a gloomy task, fraught with immeasurable responsibility, is no small feat; and yet what is needed more than cheerfulness? Nothing succeeds if prankishness has no part in it. Excess strength alone is the proof of strength. A revaluation of all values: this question mark, so black, so huge that it casts a shadow over the man who puts it down -- such a destiny of a task compels one to run into the sunlight at every opportunity to shake off a heavy, all-too-heavy seriousness. Every means is proper to do this; every "case" is a case of luck. Especially, war. War has always been the great wisdom of all spirits who have become too introspective, too profound; even in a wound there is the power to heal. A maxim, the origin of which I withhold from scholarly curiosity, has long been my motto: Increscunt animi, virescit volnere virtus. ["The spirits increase, vigor grows through a wound."] Another mode of convalescence (in certain situations even more to my liking) is sounding out idols. There are more idols than realities in the world: that is my "evil eye" upon this world; that is also my "evil ear." Finally to pose questions with a hammer, and sometimes to hear as a reply that famous hollow sound that can only come from bloated entrails -- what a delight for one who has ears even behind his ears, for me, an old psychologist and pied piper before whom just that which would remain silent must finally speak out. This essay -- the title betrays it -- is above all a recreation, a spot of sunshine, a leap sideways into the idleness of a psychologist. Perhaps a new war, too? And are new idols sounded out? This little essay is a great declaration of war; and regarding the sounding out of idols, this time they are not just idols of the age, but eternal idols, which are here touched with a hammer as with a tuning fork: there are no idols that are older, more assured, more puffed-up -- and none more hollow. That does not prevent them from being those in which people have the most faith; nor does one ever say "idol," especially not in the most distinguished instance. Turin, September 30, 1888, on the day when the first book of the Revaluation of All Values was completed. FRIEDRICH NIETZSCHE

A Classic top 100 Book. Twilight of the Idols by Friedrich Nietzsche [ 1895 ]. Text prepared from the original German and the translations by Walter Kaufmann and R.J. Hollingdale. Twilight of the Idols, or, How to Philosophize with a Hammer is a book by Friedrich Nietzsche, written in 1888, and published in 1889.Twilight of the Idols was written in just over a week, between 26 August and 3 September 1888, while Nietzsche was on holiday in Sils-Maria. As Nietzsche's fame and popularity was spreading both inside and outside Germany, he felt that he needed a text that was a short introduction to his work; Twilight of the Idols is his attempt at this. Originally titled A Psychologist's Idleness, it was renamed Twilight of the Idols, or, How to Philosophize with a Hammer.The latter title, Gotzen-Dammerung in German, is a pun on the title of Richard Wagner's opera, Gotterdammerung, or 'Twilight of the Gods'. Gotze is a German word for "idol" or "false god". Walter Kaufmann has suggested that in his use of the word Nietzsche might be indebted to Francis Bacon.Nietzsche criticizes German culture of the day as unsophisticated and nihilistic, and shoots some disapproving arrows at key French, British, and Italian cultural figures who represent similar tendencies. In contrast to all these alleged representatives of cultural "decadence", Nietzsche applauds Caesar, Napoleon, Goethe, Thucydides and the Sophists as healthier and stronger types. The book states the transvaluation of all values as Nietzsche's final and most important project, and gives a view of antiquity wherein the Romans for once take precedence over the ancient Greeks.

Of The Twilight of the Idols, Nietzsche says in Ecce Homo: -"If anyone should desire to obtain a rapid sketch of how everything before my time was standing on its head, he should begin reading me in this book. That which is called 'Idols' on the title-page is simply the old truth that has been believed in hitherto. In plain English, The Twilight of the Idols means that the old truth is on its last legs." Certain it is that, for a rapid survey of the whole of Nietzsche's doctrine, no book, save perhaps the section entitled "Of Old and New Tables" in Thus Spake Zarathustra, could be of more real value than The Twilight of the Idols. Here Nietzsche is quite at his best. He is ripe for the marvellous feat of the transvaluation of all values. Nowhere is his language-that marvellous weapon which in his hand became at once so supple and so murderous-more forcible and more condensed. Nowhere are his thoughts more profound.

A "grand declaration of war," this 1889 polemic examines what we worship and why. Intended by Nietzsche as an introduction to his philosophy, it assails "idols" of Western philosophy and culture.

For lovers of timeless classics, this series of beautifully packaged and affordably priced editions of world literature treasures encompasses a variety of literary genres, including theater, novels, poems, and essays.

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Götzen-Dämmerung oder Wie man mit dem Hammer philosophiert ist ein 1889 veröffentlichtes Spätwerk Friedrich Nietzsches, in dem er wesentliche Aspekte seines bisherigen Denkens zusammenfasste. Mit ihm setzte er den Weg der Umwertung aller Werte weiter fort und bezog sich auf die Götzen" seiner Zeit, deren Dämmerung er voraussah. Das heterogene Werk enthält viele metaphysikkritische, kunst- und sprachphilosophische Einsichten, die für das Verständnis der späten Philosophie Nietzsches von großer Bedeutung sind.In zehn von einem kurzen Vorwort eingeleiteten Abschnitten resümiert Nietzsche die Hauptthemen seines Spätwerks. Wie er in der autobiographischen Schrift Ecce homo schrieb, bezieht sich Götze" auf das, was man bisher Wahrheit genannt habe, auf deren Ende die (Metapher der) Dämmerung deute: Götzen-Dämmerung - auf deutsch: Es geht zu Ende mit der alten Wahrheit ..." Das Bild des Hammers, das auf eine heftige Zerstörung des Alten hinweist, ergänzt Nietzsche im Vorwort mit dem der Stimmgabel. Mit ihr verweist er auf das diagnostische Vorgehen, dass die so hinterfragten Götzen hohle Töne" von sich geben können. Zu den Schwerpunkten seiner Kritik gehören Metaphysik und Moral, Religion und erneut das Phänomen der Dekadenz, mit der sich Nietzsche seit langem beschäftigt und die er in unterschiedlichen Manifestationen beschrieben hatte. Der metaphysische Dualismus (Zweiteilung) beherrsche die Geschichte der abendländischen Kultur und Philosophie und teile die Welt in einen wahren und einen scheinbaren Bereich. Nietzsche arbeitet Phasen der platonischen und christlichen, Kantischen und positivistischen Einflussnahme dieser Trennungen heraus.

"Le Cr#65533;puscule des idoles" de Friedrich Nietzsche. Friedrich Nietzsche, philosophe allemand (1844-1900).

La 4e de couverture indique : "Quelles sont les "idoles" auxquelles s'attaque Nietzche et dont il annonce le crépuscule ? Ce sont, nous dit-on, les valeurs forgées par la religion chrétienne et imposées comme seule vérité. La tâche du philosophe consiste alors à mettre en lumière l'origine de ces à priori moraux. Les valeurs, une fois démontrée l'erreur qui nous les fait croire universelles, sonnent creux sous le marteau du philosophe.Car s'il cherche moins à détruire qu'à questionner et ausculter, sa visée est bien le renversement de toutes les valeurs, pour rendre à la vie, affadie par deux millénaires de christianisme, sa vigueur et sa santé."

Afgodenschemering (1888) is de definitieve afrekening van de beeldenstormer Nietzsche met de afgoden van zijn tijd. In krachtige sententies hamert hij dubieuze ideologieën (christendom, feminisme, socialisme), kwalijke denkbeelden (nationalisme, antisemitisme) en twijfelachtige reputaties (Wagner, Socrates) af. Nietzsches ambitie ‘in een tiental zinnen te zeggen wat ieder ander in een boek zegt – wat ieder ander in een boek niet zegt…’ resulteert in briljante passages als ‘Hoe de ware wereld ten slotte tot fabel werd’, waarin het bestaan van een ideeënwereld áchter deze werkelijkheid als bedrog wordt ontmaskerd.Overeind blijft slechts een aantal grote geestverwanten: Dostojevski, Stendhal, Goethe, Thucydides en Machiavelli, die net als hij de strenge, harde feitelijkheid van het leven recht in het gezicht durven te kijken. Kernachtiger dan in Afgodenschemering heeft hij zijn voor- en afkeuren, zijn dionysische levensfilosofie en zijn missie, de omverwerping van het bestaande decadente wereldbeeld, nergens geformuleerd.

For lovers of timeless classics, this series of beautifully packaged and affordably priced editions of world literature encompasses a variety of literary genres, including drama, fiction, poetry, and essays.   Los lectores tomar#65533;n un gran placer en descubrir los cl#65533;sicos con estas bellas y econ#65533;micas ediciones de literatura famosa y universal. Esta selecci#65533;n editorial cuenta con t#65533;tulos que abarcan todos los g#65533;neros literarios, desde teatro, narrativa, poes#65533;a y el ensayo.

El libro describe en primer t#65533;rmino c#65533;mo el rito tanto apol#65533;neo y dionisiaco se debaten constantemente en la vida de los seres humanos. As#65533; entonces se tiene un primer acercamiento al comportamiento y la anhelada explicaci#65533;n de los cl#65533;sicos. Sin embargo las cr#65533;ticas no se har#65533;an esperar y los #65533;dolos que hab#65533;an presidido el pensamiento de muchos intelectuales europeos durante diecinueve siglos, esta vez se ve#65533;an fuertemente cuestionados por Nietzsche.

El autor defiende el coraje de actuar y pensar de acuerdo al instino a pesar y en contra del proceso de alienación que la sociedad opera.

En el último periodo de su vida lúcida, Nietzsche resume su lucha contra las falsas concepciones que conforman la tradición de la filosofía, la moral y la religión de Occidente. Para llevar a cabo tal ataque, el filósofo decide analizar aquellos ídolos que han aparecido a lo largo de esa tradición como valores supremos que guían y regulan un tipo de comportamiento que se corresponde con un modo de vida. Esos ídolos, cuando se les toca con el martillo, suenan a hueco, no son nada más que fuegos fatuos que el propio hombre ha introducido en la realidad y que se desvanecen ante la sola mirada atenta de quien los contempla con atención y sensatez. El crepúsculo de los ídolos es el ocaso de los grandes valores "eternos" que han dominado una civilización y una forma de vida, un ocaso que tal vez preceda a una nueva aurora llena de promesas, a un cambio de todos los valores.

Algunas ediciones anteponen El ocaso de los idolos a Como se filosofa a martillazos, otras la titulan Ocios de un psicologo. No existe verdad o hecho ideal que Nietzsche no toque en la obra; no deja en paz ni a los idolos antiguos ni a los modernos. Refiere el despertar en si de segunda conciencia capaz de echar luz sobre la pendiente oblicua por la que se deslizaba, a la que denomina B"El camino de la verdad."

Nietzsche lucha contra las falsas concepciones que conforman la tradición de la filosofía, la moral y la religión de Occidente.

Friedrich Nietzsche realiza una cr#65533;tica exhaustiva de la cultura, religi#65533;n y filosof#65533;a occidental, mediante la deconstrucci#65533;n de los conceptos que las integran basada en el an#65533;lisis de las actitudes morales (positivas y negativas) hacia la vida. Este trabajo afect#65533; profundamente generaciones posteriores de te#65533;logos, fil#65533;sofos, psic#65533;logos, poetas, novelistas y dramaturgos.

Götzen-Dämmerung by Friedrich Wilhelm Nietzsche

Gli idoli sono le vecchie verit© cui gli uomini hanno creduto sinora. Socrate, per N. ha corrotto l'anima greca col veleno della "ragionevolezza a tutti i costi". Affronta poi il problema della trascendenza. Riprende anche un tema favorito, la "morale come contro-natura". Successivamente designa gli errori che hanno traviato gli uomini: la confusione tra causa e effetto, il concetto della causalit© , il ricorso a cause immaginarie per spiegare le azioni e infine il concetto del libero arbitrio. Nelle notazioni sulla "psicologia dell'artista" N. esalta l'arte come stimolatrice della vita e vede l'"ebrezza" come condizione preliminare di ogni creazione artistica. Predica infine il ritorno alla natura come "amor fati".

Este livro representa um radical experimento crítico que reúne, além dos conhecidos temas, um panorama global mais específico em torno dos pensamentos da filosofia madura de Nietzsche em diversos âmbitos: a crítica de tradições filosóficas e morais, um reposicionamento sobre a arte, principalmente em relação aos seus conceitos apolíneo e dionisíaco, o embate com filósofos e escritores, uma discussão crítica com a ciência e com as culturas (especialmente alemã e greco-romana antigas), entre outros.