Content and formal structures are inextricably linked in Nietzsche’s texts. Formal qualities convey meaning, for example, by indicating whether an expressed thought should be understood as an assertion, or rather subverted and ultimately negated. The following recent publications explore intermediality and performativity in Nietzsche’s language from different perspectives. Federico Celestini and Rüdiger Görner each examine the musicality of Nietzsche’s language against the grain of the common assumption of the language-like character of music. However, the two authors arrive at different conclusions (...) about the correspondence between language and music in Nietzsche’s work. A volume edited by Christian Benne and Dieter Burdorf draws connections between Nietzsche and the philologist Rudolf Borchardt in terms of their concept of language. While Nietzsche and Borchardt exhibit parallels with regard to language skepticism and the self-creative process of writing, they fundamentally disagree in their conception of art. Finally, Diemo Landgraf sees Nietzsche’s work as the culmination of nineteenth-century decadent literature, grounding his critique of Nietzsche’s unique approach, which arises out of a music philosophical perspective, by labelling it as nihilistic. (shrink)

New Publications on Nietzsche’s Musical Aesthetics and Philosophy of Music. The significance of music in Nietzsche’s aesthetic writings is undisputed. However, the question of the role that music played in Nietzsche’s thought and writing process still yields divergent answers which are not free of speculative interpretations. New publications on Nietzsche’s aesthetics of music cover a wide range of themes: from the significance that the syllabic rhythms of Greek antiquity held for Nietzsche to the relationship between sounds and language in poetic (...) texts, for example, and the processes to which Nietzsche applied himself as a composer of music. This makes it very clear that music is not simply a complementary element to express what cannot be said in language, nor is it a form of relief from the tragic perception of life. (shrink)