768 books for « nietzsche fr »Edit

‎De Laertii Diogenis fontibus. I-VI. [Extract from: Rheinishes Museum für Philologie, Vol. XXIII + XXIV. Herausgegeben von F.G. Welcker und F. Ritschl]. - [NIETZSCHE'S FOURTH PUBLICATION]‎

‎Frankfurt am Main, Verlag von Johann David Sauerländer, 1868-69. 8vo. Bound with the general title-pages to both volumes of Rheinishes Museum in a very nice recent marbled paper binding with gilt leather title-label to front board. (Vol. XXIII:) pp. (632) - 653 + (Vol. XXIV:) pp. (181) - 228. The paper is extremely brittle and cracks very easily, thus there are a few smaller marginal tears, no loss of lettering and occassional marginal chipping, far from affecting text.‎

‎The scarce first printing of Nietzsche's fourth publication, the third of his philological essays and his most comprehensive, dealing with the question of the sources for Diogenes' work ""The Lives of the Philosophers"", Nietzsche's main interest at the time and the question that took up most of his philological research. It is in this work that Nietzsche concludes that Diogenes had two sources, namely Diocles of Magnesia and Favorinus of Arles.Nietzsche's first published work was a philological essay published in 1867 in the respected journal of classical studies, the ""Rheinisches Museaum für Philologie"". That article, published on the urging of his teacher, appeared when Nietzsche had merely been studying philology for a couple of years. Nietzsche began studying philology at the University of Bonn in the winter semester of 1864/65 and quickly became a prize student. His university studies were fairly quickly interrupted, though, as he spent a year in the Prussian Artillary, from October 1867. After about half a year, he was seriously injured and had to spend the last five months there as a reconvalescent. Nonetheless this year did not mean a break in Nietzsche's studies, quite the contrary. Already in April 1868, before his injury (in May), he published his first book review, namely that of Schoemann's work on ""Die hesiodische Theogonie"", which had just appeared. And after the injury, he naturally had even more time for studying at his disposal"" ""Nietzsche's protracted recovery from his military injuries allowed him considerable time to study and to take on other scholarly duties...(Schaberg, p. 10).""By September of 1868, Nietzsche's studies had produced the first half of a two-part, entitled ""On the Sources of Diogenes Laertius"" (""De Laertii Diogenis fontibus""), which was published in Ritschl's journal. Diogenes Laertius, the third-century author of Lives of the Philosophers, and the question of his sources was Nietzsche's main ongoing interest and the topic represented well over half of his philological publications. Ritschl had been aware of this interest, and he actually encouraged the writing of the article by his most brilliant pupil by designing a school competition with ""The Sources of Diogenes Laertius"" as the recommended topic. Nietzsche, who had been working hard on these studies for several years, won the competition easily."" (Schaberg, p.11)De Laertii Diogenis fontibus was published the year Nietzsche finished his studies and meet Richard Wagner for the first time. The following year, in 1869, Nietzsche intensive studies bore fruit and he was appointed professor of classical philology at the University of Basel. To this day, Nietzsche is still among the youngest of the tenured Classics professors on record. Nietzsche's interest in classical studies did however not last and ""By early January of 1871, Nietzsche was sufficiently disillusioned with philology to apply for the chair of philosophy at Basel, proposing his friend Rhode for his own position. The request was denied but the refusal did little to delay the end of Nietzsche's classical career."" (Schaberg 14 pp). ""[I]t is uncertain whether all of these articles [i.e. in the Rheinisches Museum] were issued individually and there is no evidence in Nietzsche's letters to suggest the standard offprint policies of Rheinisches Museum at the time."" (Schaberg, p. 13). Schaberg 11 - 12‎

‎Götzen-Dämmerung oder Wie man mit dem Hammer philosophirt. Von Friedrich Nietzsche. Leipzig, Verlag von C.G. Naumann, 1889. - (Bound with:) NIETZSCHE, F. Der Fall Wagner. Ein Musikanten-Problem. Von Friedrich Nietzsche. Zweite Auflage.‎

‎Leipzig, Verlag von C.G. Naumann, (1888.) Two works in one volume. (8), 144 pp.; (8), 57, (1) pp. 8vo. Contemporary half cloth, spine lettered gilt, marbled boards, corners. First work: Schaberg 56. First edition of the "Twilight of the Gods" and written during an incredibly productive six month period before Nietzsche's collapse in Turin. It was also the last book published during his lifetime. The title refers to an image in the preface: idols "are touched with a hammer and a tuning fork to determine whether they are hollow", which is of course a sarcastic allusion to Wagner, both personally and as a symbol of the German spirit. Nietzsche had 1,000 copies of this work privately printed. Originally to be called "A Psychologist at Leisure," Nietzsche changed the title at the suggestion of his friend, Gast and the book was released a few weeks after Nietzsche collapsed in Turin. The "Idols" that Nietzsche singles out here are those of the philosophers and the moralists. The Preface clearly states that the work at hand is to be "the revaluation of all values". Socrates and Christianity are particular targets although modern Germany and other contemporary ideas are also taken to task in the normally acerbic style of the author. (This book also contains some of Nietzsche's most frequently quoted phrases beginning with Aphorism #8: "What does not kill me only makes me stronger".)Second work: Schaberg 54.First edition, second issue. The book was published on 22 September 1888. Five hundred copies were printed, but 500 additional copies were printed at this time and falsely marked as second edition by the addition of "Zweite Auflage" in the middle of the ornamental rule and the deletion of the publication date. The true second edition of a 1000 copies was printed in October of 1891.The book is a critique of Richard Wagner and the announcement of Nietzsche's rupture with the German artist, who had involved himself too much, in Nietzsche's eyes, in the Völkisch movement and antisemitism. His music is no longer represented as a possible "philosophical affect," and Wagner is ironically compared to Georges Bizet. However, Wagner is presented by Nietzsche as only a particular symptom of a broader "disease" which is affecting Europe, that is nihilism. The book shows Nietzsche as a capable music-critic, and provides the setting for some of his further reflections on the nature of art and on its relationship to the future health of humanity.This work is in sharp contrast with the second part of Nietzsche's The Birth of Tragedy, wherein he praised Wagner as fulfilling a need in music to go beyond the analytic and dispassionate understanding of music. Nietzsche also praised Wagner effusively in his essay 'Wagner at Bayreuth' (part of the Untimely Meditations), but his disillusion with Wagner the composer and the man was first seen in his 1878 work Human, All Too Human. One of the last works that Nietzsche wrote returned to the critical theme of The Case of Wagner. In Nietzsche contra Wagner, Nietzsche pulled together excerpts from his works to show that he consistently had the same thoughts about music, only that he had misapplied them to Wagner in the earliest works. - First and last leaves a bit foxed, some scattered annotations in blue pencil and lead pencil.Provenance: from the library of A. Diepenbrock, with his signature on the first free endpaper (and date Jan. 1889) and second title-page (with the date Sept. 1888.) Alphons Diepenbrock was a Dutch composer, essayist and classicist. Although he showed musical ability he studied classics at the University of Amsterdam, gaining his doctorate cum laude in 1888 with a dissertation in Latin on the life of Seneca. The same year he became a teacher, a job which he held until 1894, when he retired from that position and decided to devote himself to music. As a composer, he had been completely self-taught from an early age. He created a musical idiom which, in a highly personal manner, combined 16th-century polyphony with Wagnerian chromaticism, to which in later years was added the impressionistic refinement that he encountered in Debussy's music. His predominantly vocal output is distinguished by the high quality of the texts used. Apart from the Ancient Greek dramatists and Latin liturgy, he was inspired by, among others, Goethe, Novalis, Vondel, Brentano, Hölderlin, Heine, Nietzsche, Baudelaire and Verlaine. As a conductor, he performed many contemporary works, including Gustav Mahler's Fourth Symphony (at the Concertgebouw) as well as works by Fauré and Debussy. Throughout his life, Diepenbrock continued his interests in the wider cultural sphere, remaining a classics tutor and publishing works on literature, painting, politics, philosophy and religion. Indeed during his lifetime his musical skills were often overlooked. Nonetheless, Diepenbrock was very much a respected figure within musical circles. He counted amongst his friends Mahler, Richard Strauss and Arnold Schoenberg. ‎

‎Oeuvres‎

‎Pléiade.2000.In-8,reliure éditeur.Rhodoid.Etui avec photo.Etat neuf.Sous la direction de Marc de Launay.‎

‎Par-delà le bien et le mal‎

‎Aubier.1951.In-8 br.418 p.En allemand et en français.Etat satisfaisant.‎

‎Ainsi parlait Zarathoustra‎

‎Aubier.1946.In-8 br.638 p.En allemand et français.BE.‎

‎Oeuvres Posthumes‎

‎Mercure de France.1934.In-8 br.336 p.BE.‎

‎Lettres à Peter Gast. 2 vols.‎

‎Editions du Rocher.1957.2 vols.in-8 br.qques photos.Etat correct ;couvs.un peu insolées.‎

‎Ainsi parlait Zarathoustra‎

‎Paris, Club français du Livre, 1958. In-8 (215x140mm) relié en cartonnage d'éditeur ; 418 p. Bon état général. Petites tâches.‎

‎Le Voyageur et son ombre. Opinions et sentences mêlées (humain, trop humain, deuxième partie)‎

‎Paris, Société du Mercure de France, coll. d'Auteurs étrangers, 1902. In-8 (185x120mm) relié en demi vélin, couv. conservées, 444 p. Ex. n°168. Très bon état intérieur / petits frottements d'usage extérieurs. Très bon exemplaire.‎

‎Der Florentinische Tractat über Homer und Hesiod, ihr Geschlecht und ihren Wettkampf. I-V. [Extract from: Rheinishes Museum für Philologie, Vol. XXV + XXVIII. Herausgegeben von F.G. Welcker und F. Ritschl]. - [ENDING THE TRADITIONAL SCHOLARSHIP]‎

‎Frankfurt am Main, Verlag von Johann David Sauerländer, 1870-73. 8vo. Bound with the general title-pages to both volumes of Rheinishes Museum in a very nice recent marbled paper binding with gilt leather title-label to front board. (Vol. XXV:) pp. (528) - 540 + (Vol. XXVII:) pp. (211) - 249. The paper is extremely brittle and cracks very easily, thus there are a few smaller marginal tears, no loss of lettering. Occassinal light pencil-underlinings in text.‎

‎The rare first edition of Nietzsche's important last piece of traditional scholarship, the final of his earliest publications. ""By early January of 1871, Nietzsche was sufficiently disillusioned with philology to apply for the chair of philosophy at Basel, proposing his friend Rhode for his own position. The request was denied but the refusal did little to delay the end of Nietzsche's classical career. All of his philological works were published prior to the appearance of The Birth of Tragedy (January 1872) except for the last article, the second haft of Der Florentinische Tractat über Homer und Hesiod, dated August 1872, which appeared in February of 1873. It was the last piece of traditional classical Scholarship that Nietzsche published."" (Schaberg 13-14 pp.)""Both Wagner and Cosima found several of Nietzsche's works especially enriching [...]. Wagner was also familiar with Nietzsche's scholarship on the epic poets Hesiod and Homer, through his work on the Florentine Manuscript Concerning Homer and Hesiod, Ancestry and their Contest."" (Foster, Daniel. Wagner's Ring Cycle and the Greeks, Cambridge University Press"" 2010, pp. 279-80).""In later years, Nietzsche was understandably dismissive of his philological works. He once wrote to Georg Brandes that ""there are of course, also ""Philologica"" by me but that need not concern either of us anymore."" Cartainly this was true in 1888, but twenty years earlier when these articles were published, they were of major personal importance. Nietzsche's mentor Ritschl used the first four articles as justification for the recommendation that resulted in Nietzsche's spectacularly early appointment to Basel as professor at the age of twenty-four. Ritschl then went further and allowed the articles to be accepted as the dissertation requirement for Nietzsche's doctorate, which was offered without oral examination on 23 March 1869."" (Schaberg, p. 13).""[I]t is uncertain whether all of these articles [i.e. in the Rheinisches Museum] were issued individually and there is no evidence in Nietzsche's letters to suggest the standard offprint policies of Rheinisches Museum at the time."" (Schaberg, p. 13). Schaberg 14+16‎

‎Nietzsche. L'homme et le monde selon Nietzsche ; confrontations ; expériences et concepts. Cahiers de ROYAUMONT.‎

‎Paris, éd. de Minuit 1967. Bel exemplaire broché, in-8, 289 pages avec table.‎

‎Et aussi : F. NIETZSCHE, Paul RÉE, Lou von SALOMÉ. Correspondance par E. PFEIFFER. CHF 50.00 Les précurseurs de Nietzsche par Ch. ANDLER. Nietzsche, sa vie et sa pensée. 1938. CHF 40.00 Nietzsche en Italie par G. de Pourtalès. 1929. Bel exemplaire broché, in-8, 228 pages. CHF 25.00 Politique de Nietzsche présentée par R.-J. Dupuy. 1969. Bel ex. br., in-8, 350 p. CHF 20.00 Le cas Nietzsche par K. Schlechta. 1960. Bel ex. br., in-8, 167 pages. 25.00 en lisant Nietzsche par E. Faguet. 1903. Bel ex. relié, pet. in-8, 362 p. CHF 40.00‎

‎Analecta Laertiana. [Extract from: Rheinishes Museum für Philologie, Vol. XXV. Herausgegeben von F.G. Welcker und F. Ritschl].‎

‎(Frankfurt am Main, Verlag von Johann David Sauerländer, 1870). 8vo. Bound in a very nice recent marbled paper binding with gilt leather title-label to front board. Pp. (217) - 231. The paper is extremely brittle and cracks very easily, thus a few smaller marginal pieces of paper have chipped off, no loss of lettering.‎

‎Rare first edition of one of Nietzsche's earliest publications, his ingenious and daring philological essay on six disputed passages of Diogenes Laertius' ""Lives of the Philosophers"", his favoured philological topic. Nietzsche's first published work was a philological essay published in 1867 in the respected journal of classical studies, the ""Rheinisches Museaum für Philologie"". That article, published on the urging of his teacher, appeared when Nietzsche had merely been studying philology for a couple of years. Nietzsche began studying philology at the University of Bonn in the winter semester og 1864/65 and quickly became a prize student. His university studies were fairly quickly interrupted, though, as he spent a year in the Prussian Artillary, from October 1867. After about half a year, he was seriously injured and had to spend the last five months there as a reconvalescent. Nonetheless this year did not mean a break in Nietzsche's studies, quite the contrary. Already in April 1868, before his injury (in May), he published his first book review, namely that of Schoemann's work on ""Die hesiodische Theogonie"", which had just appeared. And after the injury, he naturally had even more time for studying at his disposal"" ""Nietzsche's protracted recovery from his military injuries allowed him considerable time to study and to take on other scholarly duties… (Schaberg, The Nietzsche Canon, p. 10).Following his important ""On the Sources of Diogenes Laertius"" from 1869-69, Nietzsche publishes this present article on the same subject, focusing on a different part, in 1870. ""[I]t is uncertain whether all of these articles [i.e. in the Rheinisches Museum] were issued individually and there is no evidence in Nietzsche's letters to suggest the standard offprint policies of Rheinisches Museum at the time."" (Schaberg, p. 13). Schaberg 13‎

‎Götzen-Dämmerung oder Wie man mit dem Hammer philosophiert. + Dionysos-Dithyramben. - [WHAT DOES NOT KILL ME ONLY MAKES ME STRONGER]‎

‎Leipzig, C.G. Naumann, 1889 + (1890 - released 1892). 8vo. Very nice contemporary half calf with five raised bands, gilt ornamentations, and gilt lettered title to spine. Double gilt lines to boards. A bit of wear to capitals and corners. A nice, clean, and tight copy. Internally fresh and clean, uncut. (8), 144 pp. + 21, (1) pp., 1 f. (contents).‎

‎The scarce first edition of the epitome of Nietzsche's final project -a re-valuation of all values (""Eine Umwerthung aller Werthe""), -his hugely interesting ""declaration of war"" (preface p. (4): ""Diese Schrift ist eine grosse Kriegserklärung""), which was written during his last productive year, just before his big breakdown in Turin. - Bound together with the first printing of the ""Dionysian Dithyrambs"", which appeared as a separate appendix to the fourth part of ""Also sprach Zarathustra"".""Götzen-Dämmerung"" (""The Twilight of the Idols"") must be said to constitute the culmination of the production of this giant of philosophy, who turned mad after having finished it.Early in 1889 Nietzsche began to exhibit signs of serious mental illness, and in Turin he finally broke down, and was brought back to Basel by his friends. ""The Twilight of the Idols"" was released merely a few weeks after this collapse, and Nietzsche never wrote again.Nietzsche had 1.000 copies of the work privately printed. The work is considered one of his most popular, and it is here that we find some of the most frequently quoted passages from the works of Nietzsche, e.g. ""What does not kill me, only makes me stronger"" (p.2.: ""Was mich nicht umbringt, macht mich stärker"").The Twilight was meant as an introduction to, or summary of, Nietzshe's philosophy, and as such it is one of his most interesting works. It is written almost as in a rage of fever -in only about a week-, and as he himself states at the end of the preface: ""Turin, am 30. September 1888, am Tage, da das erste Buch der Umwerthung aller Werthe zu ende kam."" (i.e. ""Turin, on September 30. 1888, on the day that the first book on the re-valuation of all value came to an end.""). This highly polemical work makes clear reference to Wagner's opera ""Götterdämmerung"", and it presents us with a sharp critique of the most influential philosophers in history, e.g. Kant, Plato, Socrates, and of Christianity in general, but also the likes of Rousseau, Hugo, Renan, Mill, Darwin, Dante etc. are attacked as the causes of cultural decadence in Europe, and only the likes of Caesar, Napoleon, Dostojevski, Goethe and Thukydides represent the opposite -healthy and strong- strand.Nobody who had read this work could have been surprised with the mental collapse of the author.Of the 1.000 copies, 659 still remained unsold by October 1893.Though Nietzsche is primarily understood and remembered as one of the greatest philosophers of all times, his poems occupy a central place in his literary production and many of them (e.g. the Dithyrambs) are intimately linked with the philosophy, for which he is so famous today. The first printing of the ""Dionysian Dithyrambs"" furthermore occupies a central place in the legendary feud over the rights to his works that emerged after his break-down. Nietzshe no longer had any say in the matter of which or where his remaining works were to be printed, and a complicated struggle over the right to decide over these works begins to unfold with the printing of these first six ""Dionysian Dithyrambs"".""The first of the ""books"" to be published without his editorial corrections was actually a collection of nine poems, entitled ""Dionysian Dithyrambs"", which Nietzsche had gathered together during the last few months of 1888. One of them, ""Last Will"" (""Letzter Wille""), had originally been composed in 1883... The remaining five poems [being the five that are present here, together with ""Last Will""] also saw their first drafts during the ""Zarathustra"" period but did not receive their final revisions until 1888... He prepared the manuscript for printing and composed a dedication on 1 January 1889, but then decided to withhold it temporarily for future publication. Shortly thereafter he was insane. One year later, Gast and Naumann decided to publish the poems in same volume as the first public edition ""Zarathustra IV"" and because three of the poems already appeared in the text - albeit in a slightly revised format - they elected to print the other six poems in an addendum entitled ""Dionysian Dithyrambs"". But what started out as a simple publishing venture soon became the focal point of a complicated struggle to decide who would control the contents and the timing of the publication of Nietzshe's literary estate... Naumann had finished the printing of ""Zarathustra IV"" - which included the addendum of six ""Dinysian Dithyrambs""...on 23 November 1890, with every intention of introducing the work at the Easter Book Fair of 1891. But on 24 March and again on 29 March, Franziska wrote to Overbeck pleading that the work not be published. On 1 April, Gast received a similar letter. Naumann was sent a telegram demanding that he withhold ""Zarathustra IV"" until the issues of blasphemey and liability could be settled. On 13 April, the publisher reluctantly agreed to postpone publication until these issues were resolved.Elisabeth took this opportunity to begin searching for a new publisher who would assume responsibility for all of her brother's works, including the remaining copies that he had paid to have self-published. Negotiations dragged on for months as Elisabeth continued to browbeat Naumann on a number of issues. Finally, on 9 February 1892, a contract was signed in which C.G. Naumann gained control of all of Nietzsche's previously published works... The ""Dionysian Dithyrambs"" appeared as an addendum to the fourth part of ""Zarathustra IV"", which had been printed in late 1890, and were finally released to the public in March of 1892...Publication of all nine poems - with the proper revisions - had to wait another six years..."" (Schaberg: pp. 173-177).As mentioned, the ""Dionysian Dithyrambs"" were published as an appendix (with its own title-page) to ""Also sprach Zarathustra IV"". The work was published in 1.000 copies (printed in late 1890)" by October 1893, 171 copies still remained unsold.Twilight of the Idols: Schaberg: 56Dionysian Dithyrambs: Schaberg: 58‎

‎Zur Genealogie der Moral. Eine Streitschrift [Généalogie de la morale] [avec] Götzen-Dämmerung oder Wie man mit dem Hammer philosophirt [Crépuscule des idoles]‎

‎C. G. Naumann, Leipzig 1887 et 1889, 14x22cm, 2 volumes reliés en 1.‎

‎| Le flamboyant Crépuscule de Nietzsche|<br>* Édition originale pour les deux textes. Reliure en demi-veau glacé marron à coins, dos à cinq nerfs serti de guirlandes dorées et orné de doubles filets à froid ainsi que de motifs floraux dorés, roulettes dorées en tête et queue, plats de papier à la cuve, gardes et contreplats de papier feuilles d'acanthes stylisées, tranches marbrées, reliure de l'époque. Mors, coiffes et coins habilement restaurés. Exceptionnelle réunion de ces deux grands textes nietzschéens, les derniers qu'il écrivit avant de sombrer dans la folie. *** La Généalogie de la morale, rédigée à Sils-Maria durant l'été 1887, fut imprimée à compte d'auteur à seulement 600 exemplaires, immédiatement après l'échec de Par-delà le bien et le mal : « tout le monde s'est plaint du fait qu'on « ne me comprend pas », et les quelque 100 exemplaires vendus m'ont fait comprendre de façon bien tangible qu'on « ne me comprend pas » (lettre de Nietzsche à Heinrich Köselitz, 18 juillet 1887). La mention au dos de la page de titre de la Généalogie (« ajouté à Par-delà le Bien et le Mal », publié dernièrement, pour le compléter et l'éclairer ») témoigne de cette volonté d'éclaircissement. Les ventes de cet « écrit polémique » - tel est le sous-titre choisi par le penseur - ne remporteront pas le succès escompté : William Schaberg (The Nietzsche Canon) révèle que seulement 203 commandes de l'ouvrage ont été enregistrées deux mois après sa parution ; ce qui n'empêchera pas Nietzsche de commander à Naumann un second tirage de 1 000 exemplaires en octobre 1891. Longtemps considérée comme un simple addendum, la Généalogie ne sera redécouverte que récemment par le monde universitaire, devenant une uvre à part entière, aujourd'hui considérée comme l'une des plus importantes de la pensée morale. Le 7 septembre 1888, Nietzsche adresse un nouveau manuscrit à Naumann : « Très Honoré Monsieur l'Éditeur, [...] Vous pensez certainement que nous en avons fini avec les impressions : mais voici ! Justement le manuscrit le plus propre que je vous ai jamais envoyé. [...] Son titre est : Loisir d'un psychologue. » L'éditeur lipsien démarre immédiatement l'impression de cette nouvelle uvre dont le titre deviendra, sous l'impulsion de Peter Gast, Crépuscule des idoles, pied de nez à peine dissimulé au Crépuscule des dieux de Wagner, avec qui Nietzsche s'était brouillé dix ans plus tôt. Habitué à presser son éditeur, le philosophe lui demande cette fois de temporiser l'impression déjà entamée : il lui adresse entre temps l'important chapitre intitulé « Ce que les Allemands sont en train de perdre » ainsi que les aphorismes 32 à 43 des « Flâneries inactuelles ». La version finale se constituera d'un avant-propos, de dix chapitres et d'un extrait d'Ainsi parlait Zarathoustra (« Le marteau parle »). Le premier chapitre, intitulé « Maximes et traits » (« Sprüche und Pfeile »), contient 44 aphorismes, dont les mythiques : « Ce qui ne me tue pas me rend plus fort » ou encore « Sans la musique, la vie serait une erreur ». L'ouvrage - imprimé à 1000 exemplaires - ne paraîtra qu'en janvier 1889 alors que Nietzsche, à Turin, vient de sombrer dans la folie. - Photos sur www.Edition-originale.com - ‎

‎Beiträge zur Kritik der griechischen Lyriker. [Extract from: Rheinishes Museum für Philologie, Vol. XXIII. Herausgegeben von F.G. Welcker und F. Ritschl]. - [NIETZSCHE'S THIRD PUBLICATION]‎

‎(Frankfurt am Main, Verlag von Johann David Sauerländer, 1868). 8vo. Bound in a very nice recent marbled paper binding with gilt leather title-label to front board. Pp. 479 - 489. The paper is extremely brittle and cracks very easily, thus a few smaller marginal pieces of paper have chipped off, no loss of lettering. One small piece with a few letters is chipped off, but the piece is present and no part of lettering is missing.‎

‎The scarce first printing of Nietzsche's third publication, the second of his philological essays. Nietzsche's first published work was a philological essay published in 1867 in the respected journal of classical studies, the ""Rheinisches Museaum für Philologie"". That article, published on the urging of his teacher, appeared when Nietzsche had merely been studying philology for a couple of years. Nietzsche began studying philology at the University of Bonn in the winter semester of 1864/65 and quickly became a prize student. His university studies were fairly quickly interrupted, though, as he spent a year in the Prussian Artillary, from October 1867. After about half a year, he was seriously injured and had to spend the last five months there as a reconvalescent. ""In the same month he was injured, Nietzsche's second philological essay, ""Contribution Towards a Critique of the Greek Lyric Poets""[ Beiträge zur Kritik der griechischen Lyriker], was published in the ""Rheinisches Museum"". The essay examined the text, verse structure, and meter of Simonides' ""Greek Lament"" in an attempt to restore it to the poet's original meaning and intent. ""[I]t is uncertain whether all of these articles [i.e. in the Rheinisches Museum] were issued individually and there is no evidence in Nietzsche's letters to suggest the standard offprint policies of Rheinisches Museum at the time."" (Schaberg, p. 13). Schaberg 10‎

‎Götzen-Dämmerung oder Wie man mit dem Hammer philosophiert. - [WHAT DOES NOT KILL ME ONLY MAKES ME STRONGER]‎

‎Leipzig, C.G. Naumann, 1889. 8vo. Bound in a contemporary red half cloth binding with red marbled paper over boards and single gilt lines. Gilt lettering and a single gilt ornamentation to spine. Lovely patterned irdiscent end-papers in blue with white flowers. Boards slightly faded at top. Front hinge a bit soiled. Spine a bit discoloured and a bit worn at capitals. A few leaves with light, scattered brownspotting, but overall very clean and fresh. A few minor pencil marks on several pages and some faint brown spots on the final page. (8), 144 pp.‎

‎First edition, published in 1889 from Nietzsche's private press, of the epitome of Nietzsche's final project -a re-valuation of all values (""Eine Umwerthung aller Werthe""), -his hugely interesting ""declaration of war"" (preface p. (4): ""Diese Schrift ist eine grosse Kriegserklärung""), which was written during his last productive year, just before his big breakdown in Turin. ""Götzen-Dämmerung"" (""The Twilight of the Idols"") arguably constitutes the culmination of the production of this giant of philosophy, who turned mad after having finished it.Early in 1889, Nietzsche began to exhibit signs of serious mental illness"" in Turin, he finally broke down and was brought back to Basel by his friends. ""The Twilight of the Idols"" was released merely a few weeks after this collapse, and Nietzsche never wrote again.Nietzsche had 1.000 copies of the work privately printed. The work is considered one of his most popular, and it is here that we find some of the most frequently quoted passages from the works of Nietzsche, e.g. ""What does not kill me, only makes me stronger"" (p.2.: ""Was mich nicht umbringt, macht mich stärker"").The Twilight was meant as an introduction to, or summary of, Nietzshe's philosophy, and as such it is one of his most interesting works. It is written almost as in a rage of fever - it took him no more than a week to write it -, and he regarded it a world-changing magnum opus. As he states at the end of the preface: ""Turin, am 30. September 1888, am Tage, da das erste Buch der Umwerthung aller Werthe zu ende kam."" (i.e. ""Turin, on September 30. 1888, on the day that the first book on the re-valuation of all value came to an end.""). This highly polemical work makes clear reference to Wagner's opera ""Götterdämmerung"", and it presents us with a sharp critique of the most influential philosophers in history, e.g. Kant and Plato, and of Christianity in general, but also the likes of Rousseau, Hugo, Renan, Mill, Darwin, Dante etc. are attacked as the causes of cultural decadence in Europe. Giants like Caesar, Napoleon, Dostojevski, Goethe, and Thukydides are considered representatives of the opposite.The mental collapse of the author may not come as a surprise to anyone reading the work.Of the 1.000 copies, 659 still remained unsold by October 1893.Twilight of the Idols: Schaberg: 56a ‎

‎ Gesammelte Werke, 23 volumes complete‎

‎Munchen 1920 Musarion Verlag Half-Leather ‎

‎Musarion edition. Edited by Richard Oehler and others. First [to] twenty-third volume. Munich, Musarion Verlag 1920-1929. With four portraits and seven, mostly multi-page facsimiles, one of which is folded. Original half leather volumes each with spine labels with gilded titles. This unique monumental edition is published in 1600 copies, 100 copies numbers I - C are not available for sale, on purely wood-free paper. This copy has the number L - The edition of the work, organized on behalf of Nietzsche's sister Elisabeth Förster-Nietzsche, was supervised by Richard Oehler, Max Oehler and Friedrich Chr. Würzbach. The writings published by Nietzsche himself and his entire estate are presented here in chronological order. - "Another advantage of the Musarion edition is the addition of a youth volume (with a large number of previously unpublished treatises, studies and sketches by the young Nietzsche) as the first and an autobiographical volume as the last in the entire series" (from the foreword by Richard Oehler). - With the name index for the complete edition in volume 21, volumes 22 and 23 with the subject index. - Beautiful series of the impressive edition of Nietzsche's works. 24.5 x 17.5cm. - Covers a little dusty, edges and corners a little rubbed. Overall well preserved complete edition ‎

‎Gedichte und Sprüche. - [FRIEDRICH JODL'S COPY]‎

‎Leipzig, Naumann, 1898. Small 8vo. Uncut in the original green printed wrappers. Spine with a bit of wear and minor wear to extremities. A very fine and clean copy in the scarce original wrappers. A 4-line presentation-inscription by Friedrich Jodl to front free end-paper, dated ""23.8.98"".‎

‎The rare first edition of Nietzsche's poems and maxims, the first complete collection of his poetry, which furthermore constitutes the first appearance of all nine, properly corrected, ""Dionysian Dithyrambs"" in one volume.This one of 1.000 copies printed of the first run, without ""Second Edition"" on the title-page, as the other 1.000 copies of the first edition had. According to Elizabeth Förster-Nietzsche, Nietzsche's sister who has assembled the present collection ""[t]his collection of poems and maxims shows the entire poetic development of my brother over a period of 30 years. It begins at a time when the earliest stuttering poetical expression has been overcome and ends with the highest rising of the poetic spirit, who in order to find words can now only speak in dithyrambs."" (own translation, from the Introduction, p. [XIII]). Numerous of the poems have never been printed before, and many are printed from the original manuscripts, which Elizabeth had in her possession.Though Nietzsche is primarily understood and remembered as one of the greatest philosophers of all times, his poems occupy a central place in his literary production and many of them (e.g. the Dithyrambs) are intimately linked with the philosophy for which he is so famous today. Furthermore, the present volume underlines the popular modern view of Nietzsche as the not only philosophical, but also literary and artistic genious. The first edition of the work is difficult to find and is rarely seen for sale.THE PRESENT COPY HAS BELONGED TO FREIDRICH JODL (1849-1914), the famous German philosopher and contemporary of Nietzsche, and bears his signature as well as a 4-line dated presentation-inscription to front free end-paper. Jodl ranks as one of the most significant representatives of German expressionism and is still remembered for his original ontological works with their constant focus on empiricism as the only true strand of philosophy. He has also written a number of important works within the history of philosophy and ethics, psychology and aesthetics, which for decades counted as standard works, and he is among the first to develop the intellectual environment that ultimately led to, among many other things, the founding of the Vienna Circle. His main task was to develop and spread a purely naturalistic ethics free of any religious or metaphysical elements, and he is considered a modern ""Enlightenment philosopher"", whose consistent empiricism, well-founded philosophical ideas, optimistic theories of culture, ethics, the value of life & the progress of man inspired many later thinkers and furthermore helped promote important political and social ideas, such as free popular education, etc. His main works, which are now standard works within ethics and psychology, and which were printed over and over again, are ""Geschichte der Ethik als philosophischer Wissenschaft"", in which he presents man's cultural development as the process of liberation from religious and metaphysical ideas and the change from a theocentric to an anthropocentric foundation of ethics. This work is followed up by his purely epirically founded ""Lehrbuch der Psychologie"", which grounds the same ideas psychologically. After having been Privatdzent in Munich, he was named professor of philosophy at the German University in Prague, and in 1896 he accepted a professorship of philosophy at the University of Vienna. He was greatly successful in Vienna and was considered the most prominent liberal professor here, whose numerous lectures and articles against the reigning ""Ultramintanismus"" and the clerical influence in schools and universities found great resonance with scholars and students. He had a huge number of followers, not only at the university, but also in the public, as a political figure as well. He is partly to thank for the emergence of an intellectual climate in Vienna in the 20th century, which later led to Neopositivism and the founding of the Vienna Circle.""We need no other mediator between us and nature except our understanding and a courageous will, nor any mystery behind nature to console us for her"" we are alone with nature, and we feel secure because we possess intellect and she behaves according to laws"" (Jodl, Vom wahren und vom falschen Idealismus, p. 40). ‎

‎Le cas Nietzsche - Traduit de l'allemand par André Coeuroy , Les Essais, n° XCVI‎

‎Gallimard , Les Essais Malicorne sur Sarthe, 72, Pays de la Loire, France 1960 Book condition, Etat : Bon broché, sous couverture imprimée éditeur bleu ciel, titre en rouge In-8 1 vol. - 171 pages‎

‎ service de presse de la première traduction en français (1960) Contents, Chapitres : Avant-propos - L'Oeuvre et son intention - Les rapports de Nietzsche avec l'histoire - Légende et réalité - La légende et ses amis - Nietzsche, sans fin - Notes bibliographiques - Grand connaisseur de Nietzsche, Karl Schlechta a notamment dirigé l'édition allemande de référence des oeuvres complètes de Nietzsche dos un peu bruni, bords des plats legerement jaunis, sinon bon état, intérieur propre, papier à peine jauni, cela reste un bon exemplaire - nb : Grand format de la premiere édition, il ne s'agit pas de l'édition en poche‎

‎Le cas Nietzsche - Traduit de l'allemand par André Coeuroy , Les Essais, n° XCVI‎

‎Gallimard , Les Essais Malicorne sur Sarthe, 72, Pays de la Loire, France 1960 Book condition, Etat : Bon broché, sous couverture imprimée éditeur In-8 1 vol. - 171 pages‎

‎ 1ere traduction en français Contents, Chapitres : Avant-propos - L'Oeuvre et son intention - Les rapports de Nietzsche avec l'histoire - Légende et réalité - La légende et ses amis - Nietzsche, sans fin - Notes bibliographiques - Grand connaisseur de Nietzsche, Karl Schlechta a notamment dirigé l'édition allemande de référence des oeuvres complètes de Nietzsche infime pliure sur le coin du plat inférieur de la couverture, couverture à peine brunie sans gravité, sinon tres bon état, intérieur frais et propre, papier à peine jauni - nb : Grand format de la premiere édition, il ne s'agit pas de l'édition en poche‎

‎La naissance de la tragédie , Traduction nouvelle et présentation de Cornélius Heim‎

‎Editions Gonthier , Médiations Malicorne sur Sarthe, 72, Pays de la Loire, France 1964 Book condition, Etat : Moyen broché, sous couverture imprimée éditeur blanche, illustrée d'un masque antique rouge In-8 1 vol. - 195 pages‎

‎ 1ere édition de cette nouvelle traduction, 1964 Contents, Chapitres : Présentation du traducteur de cette édition, Cornélius Heim (8 pages) - Notes en fin d'ouvrage, index des matières, index des noms cités, biographie et oeuvres en fin d'ouvrage. La Naissance de la tragédie à partir de lesprit de la musique (Die Geburt der Tragödie aus dem Geiste der Musik) est une uvre du philosophe allemand Friedrich Nietzsche, quil publia en 1872 à lâge de 28 ans. Elle fut rééditée en 1886, sous le titre de La Naissance de la tragédie, ou Hellénisme et Pessimisme (Die Geburt der Tragödie, Oder: Griechentum und Pessimismus). Ce texte, hybride de philologie et de philosophie, traite de la naissance de la tragédie antique, des motifs esthétiques qui lont inspirée et des causes de sa disparition. - L'ouvrage développe la thèse selon laquelle deux grandes forces opposées gouvernent l'art : le dionysiaque et l'apollinien. Ces deux forces, unies un temps dans la tragédie grecque, auraient été à nouveau séparées par le triomphe de la rationalité avec Euripide et Socrate. Nietzsche espérait alors retrouver l'union du dionysiaque et de l'apollinien chez Wagner à qui est dédiée la Naissance de la tragédie : « Nous aurons beaucoup fait pour la science esthétique, quand nous en serons arrivés non seulement à lobservation logique, mais encore à la certitude immédiate de cette prise de position selon laquelle le développement de lart est lié à la dualité du dionysien et de lapollinien : de la même manière que la dualité des sexes engendre la vie au milieu de luttes continuelles et par des rapprochements seulement périodiques. ». La Naissance de la tragédie faisait partie dun projet plus vaste, débuté vers mars 1870, projet dune enquête sur la civilisation grecque, considérée, à la suite de Frédéric Schlegel, comme un tout. Toutefois, les matériaux utilisés remontent plus loin car les réflexions de Nietzsche sur le théâtre et la musique se retrouvent dans les fragments posthumes de 1869. Au cours de la rédaction, des textes se sont détachés tels que LÉtat chez les Grecs, Socrate et la tragédie (qui correspond aux chapitres 8 à 15) et La vision dionysiaque du monde. Le Drame musical grec et Socrate et la tragédie deviendront des conférences données le 18 janvier et 1er février 1870 à Bâle. Luvre fait lobjet dun premier essai de rédaction en février 1871 et dun second en mars de la même année. Les derniers chapitres sont ajoutés vers novembre et décembre de la même année. Le texte final est composé dune dédicace à Richard Wagner et de 25 chapitres. Le livre est publié en décembre 1871 (mais la couverture porte la date de 1872) chez E. W. Fritzsch à Leipzig, sous le titre La Naissance de la tragédie à partir de lesprit de la musique. Une deuxième édition, préparée en 1874, sera publiée en 1878 chez un autre éditeur, Ernst Schmeitzner. Un Essai dauto-critique sera ajouté à lédition de 1886, essai dans lequel Nietzsche souligne le caractère prématuré et maladroit de sa première uvre, et le sous-titre de cette édition devient Hellénisme et Pessimisme. couverture un peu brunie avec d'infimes traces de pliures aux coins des plats, papier à peine jauni, exemplaire de l'historien des sciences Pierre Thuillier, 1932-1998, très nombreuses annotations à l'encre et au feutre sur l'intégralité du volume, nombreuses notes sur les pages de gardes en fin d'ouvrage, le texte restant toujours lisible mais le volume est vraiment abondamment annoté, coins de pages cornés, pour amateur de la pensée de Pierre Thuillier uniquement. Pierre Thuillier devait d'ailleurs écrire sa thèse inachevée sur Nietzsche sous la responsabilité de Maurice Merleau-Ponty. - format de poche‎

‎vrolijke wetenschap, Friedrich Nietzsche‎

‎, vantilt uitgeverij, 2018 paperback, 14 x 22 cm , 352 pagina?s. ISBN 9789460043291.‎

‎De vrolijke wetenschap (1882) is het sleutelwerk in het oeuvre van Friedrich Nietzsche, waarin hij zich manifesteert als psycholoog, cultuurcriticus, dichter en wijsgeer ineen. Door Nietzsche zelf omschreven als een van zijn meest persoonlijke werken, geldt De vrolijke wetenschap als sluitstuk van zijn jaren als ?vrije geest? en luidt het de overgang in naar zijn latere werk. De ?gaya scienza? handelt over nog altijd actuele thema?s als het troebele onderscheid tussen kunst en wetenschap, de grenzen van onze waarheidsliefde en ?het geloof in het doel van het bestaan?. Aforisme na aforisme analyseert Nietzsche alledaagse illusies op even diepzinnige als toegankelijke wijze ? soms in niet meer dan een zin. De vrolijke wetenschap bevat vrijwel al Nietzsches grondgedachten: de eeuwige wederkeer, amor fati, het probleem van het nihilisme en uiteraard de dood van God. Daarmee is dit boek bij uitstek geschikt als kennismaking met het gedachtegoed van de ?filosoof met de hamer?. Deze fraaie nieuwe vertaling van Hans Driessen laat ons Nietzsche van zijn beste kant zien: prikkelend, diepzinnig, helder en wonderbaarlijk evenwichtig. Ard Posthuma nam de gedichten voor zijn rekening en Paul van Tongeren verzorgde het nawoord. ‎

‎vrolijke wetenschap / Friedrich Nietzsche‎

‎, vantilt uitgeverij, 2018 paperback, 14 x 22 cm , 352 pagina?s. ISBN 9789460043291.‎

‎ De vrolijke wetenschap (1882) is het sleutelwerk in het oeuvre van Friedrich Nietzsche, waarin hij zich manifesteert als psycholoog, cultuurcriticus, dichter en wijsgeer ineen. Door Nietzsche zelf omschreven als een van zijn meest persoonlijke werken, geldt De vrolijke wetenschap als sluitstuk van zijn jaren als ?vrije geest? en luidt het de overgang in naar zijn latere werk. De ?gaya scienza? handelt over nog altijd actuele thema?s als het troebele onderscheid tussen kunst en wetenschap, de grenzen van onze waarheidsliefde en ?het geloof in het doel van het bestaan?. Aforisme na aforisme analyseert Nietzsche alledaagse illusies op even diepzinnige als toegankelijke wijze ? soms in niet meer dan een zin. De vrolijke wetenschap bevat vrijwel al Nietzsches grondgedachten: de eeuwige wederkeer, amor fati, het probleem van het nihilisme en uiteraard de dood van God. Daarmee is dit boek bij uitstek geschikt als kennismaking met het gedachtegoed van de ?filosoof met de hamer?. Deze fraaie nieuwe vertaling van Hans Driessen laat ons Nietzsche van zijn beste kant zien: prikkelend, diepzinnig, helder en wonderbaarlijk evenwichtig. Ard Posthuma nam de gedichten voor zijn rekening en Paul van Tongeren verzorgde het nawoord. ‎

‎Götzen-Dämmerung oder Wie man mit dem Hammer philosophiert. - [WHAT DOES NOT KILL ME ONLY MAKES ME STRONGER]‎

‎Leipzig, C.G. Naumann, 1889. 8vo. Bound with the original printed wrappers in a nice near contemporary brown half cloth with gilt lettering to spine. Lovely marbled end-papers. A bit of light soiling and brownspotting to wrappers, which are otherwise very well preserved. A few leaves with some very light brownspotting and a couple of leaves with small closed tears to blank inner margin, far from affecting text. Overall very nice. With the engraved book plate of Adolf Fischer to inside of front board. (8), 144 pp. ‎

‎First edition - with the scarce original wrappers - of the epitome of Nietzsche's final project -a re-valuation of all values (""Eine Umwerthung aller Werthe""), -his hugely interesting ""declaration of war"" (preface p. (4): ""Diese Schrift ist eine grosse Kriegserklärung""), which was written during his last productive year, just before his big breakdown in Turin. ""Götzen-Dämmerung"" (""The Twilight of the Idols"") arguably constitutes the culmination of the production of this giant of philosophy, who turned mad after having finished it.Early in 1889, Nietzsche began to exhibit signs of serious mental illness"" in Turin, he finally broke down and was brought back to Basel by his friends. ""The Twilight of the Idols"" was released merely a few weeks after this collapse, and Nietzsche never wrote again.Nietzsche had 1.000 copies of the work privately printed. The work is considered one of his most popular, and it is here that we find some of the most frequently quoted passages from the works of Nietzsche, e.g. ""What does not kill me, only makes me stronger"" (p.2.: ""Was mich nicht umbringt, macht mich stärker"").The Twilight was meant as an introduction to, or summary of, Nietzshe's philosophy, and as such it is one of his most interesting works. It is written almost as in a rage of fever - it took him no more than a week to write it -, and he regarded it a world-changing magnum opus. As he states at the end of the preface: ""Turin, am 30. September 1888, am Tage, da das erste Buch der Umwerthung aller Werthe zu ende kam."" (i.e. ""Turin, on September 30. 1888, on the day that the first book on the re-valuation of all value came to an end.""). This highly polemical work makes clear reference to Wagner's opera ""Götterdämmerung"", and it presents us with a sharp critique of the most influential philosophers in history, e.g. Kant and Plato, and of Christianity in general, but also the likes of Rousseau, Hugo, Renan, Mill, Darwin, Dante etc. are attacked as the causes of cultural decadence in Europe. Giants like Caesar, Napoleon, Dostojevski, Goethe, and Thukydides are considered representatives of the opposite.The mental collapse of the author may not come as a surprise to anyone reading the work.Of the 1.000 copies, 659 still remained unsold by October 1893.Twilight of the Idols: Schaberg: 56a‎

‎Nietzsche Friedrich. Complete collection of works: In 13 volumes. Drafts and ske‎

‎Nietzsche Friedrich. Complete collection of works: In 13 volumes. Drafts and ske. Series: Friedrich Nietzsche. Complete collection of works in 13 volumes (Cultural Revolution) M.: Cultural Revolution 2005-2012. Set of seven volumes from the collection in which drafts and sketches of Friedrich Nietzsche are published. V.7: Drafts and sketches of 1869-1873 V.8: Drafts and sketches of 1874-1879 V.9: Drafts and sketches of 1880-1882 V.10: Drafts and sketches of 1882-1884 V.11: Drafts and sketches of 1884-1885 V.12: Drafts and sketches of 1885-1887 V.13: Drafts and sketches of 1887-1889. SKUalb6f92086bb0314c0e.‎