Nihilism in Poetry, Film and Metal Music
In the present paper I analyze the theme of death in Gothic Metal songs such as Forever Failure (1995) by Paradise Lost, Everything Dies (1999) by Type O Negative, The Hanged Man (1998) by Moonspell or Gone with The Sin (1999) by HIM. The subthemes I am mostly interested in are the death of anima, the suicide of the self and the universal death. Several Romanian poets-Mihai all have in common the pursuit of nihilism-used death to enhance their nihilist poetical universe. I will trace the aforementioned subthemes in some of their most spectacular poems.
My article discusses Ridley’s Scott new movie Alien-Covenant (2017) in the context of Nietzsche’s and Cioran’s antihumanism. Defining the synthetic android from the film as a not-man, I cover the interdisciplinary relationships of the term to poetry, psychology, theology and classical music.
In the following paper we explore the utopian theme of revolution in two filmic works of art: the movie Fight Club (1999), directed by David Fincher, and the very recent TV series Mr. Robot (2015), created by Sam Esmail. We will argue that Fight Club is an existential meditation on simulation, dehumanization and the capitalistic tyranny of the objects combined with a nihilistic pursuit of authenticity through violence. Closely following Fight Club's rumination on madness as " revolution of the self, " Mr. Robot allows us to take a peek into the mystery of revolutionary freedom: will it change everything or will we come to regret our former tyrants? The cult movie Fight Club (1999) combines central themes from the existentialist tradition with a postmodern critique of consumerism and a nihilistic perspective (from Schopenhauer to Cioran). Based on the novel written by Chuck Palahniuk (1996), David Fincher's movie tells the story of an insomniac office worker (Jack, played by Edward Norton) who crosses paths with a nihilistic soap maker (Brad Pitt as Tyler Durden). They both form an underground fight club that becomes the first step in a revolutionary project targeted at the destruction of society.
Studiul meu îşi propune să analizeze minimal nihilismul nietzschean pe baza conceptelor sale fundamentale (voinţa de putere, supraomul, eterna reîntoarcere a identicului). Scrierile lui Nietzsche la care voi face, cel mai des, apel sunt Aşa grăit-a Zarathustra şi Voinţa de putere. De asemenea, voi utiliza fragmente din Dincolo de bine şi de rău şi Genealogia moralei. Astfel, studiul nihilismului va fi focalizat pe textele din a treia perioada nietzscheană de creaţie, cea dintre 1883 şi 1887. Sensul conceptelor nietzscheene îl voi analiza pornind de la interpretările lui Martin Heidegger, Michel Haar, Karl Löwith, Rüdiger Safranski, Maurice Blanchot, Robert Solomon, etc. De asemenea, aparatul de lucru postmodern al filosofilor Gilles Deleuze, J.F. Lyotard sau Jean Baudrillard îl voi aplica pe structura textelor nietzscheene. Influenţele schopenhaueriene şi darwiniste ale „metafizicii” nietzschene vor constitui, de asemenea, obiectul acestei cercetări. Fragmente din această carte au apărut în Apostrof, Revista de Filosofie, Sisif şi EgoPHobia. Următoarele persoane merită recunoştinţa mea: tatăl meu, Ştefan Bolea Sr. şi prietenii mei, Sorin-Mihai Grad, Petrişor Militaru şi Cătălin Ghiţă.
In this paper we provide a new solution to the nihilist dilemma of non-being's precedence over being. Starting from proponents of nihilism like Arthur Schopenhauer, Friedrich Nietzsche and Emil Cioran, we move to the anti-systemic "war machine" of Romanian-French poet Gherasim Luca, who, inspired by anarchistic theoreticians and Symbolist poets, asserted that only direct and concrete action could harass and sabotage the hegemonic power. His poem, Tragedies Which Are Meant To Happen is not only an important text of Romanian surrealist poetry, but also a page of the modern history of anarchistic philosophy.
My article discusses the place of Lars von Trier’s latest movie (Melancholia) in the history of nihilism. Constructed on the distinction between the dark night of the soul and the Night of St. Bartholomew, the teleology of the article is interdisciplinary, combining music, literature, religion, philosophy and the history of arts.
My article discusses the place of the successful French novelist and theorist Michel Houellebecq in the history of present and “future” nihilism. Taking into consideration that he “discovered” an original route to world nihilism (choosing not to follow Nietzsche, Baudrillard, Palahniuk, Cioran, von Trier or others), I analyze his “ontology of negation” displayed in an indirect manner in his work on the well-known horror writer H.P. Lovecraft.
A new philosophical and anyhropological-psychological concept is needed for the alienated and radically different human being according to the nihilist Romanian-French philosopher E.M. Cioran. This concept of the not-man describes a post-anthropological subject, which is ―inhumanˮ from a psychological point of view, emphasizing estrangement and otherness in the definition of humanity. I have compared Cioran‘s provocative and unusual term with Nietzsche‘s analysis of the overman - the difference between the two concepts proceeding from two conflicting nihilist perspectives - and I also have identified the not-man in the novel of the Japanese writer Osamu Dazai, No Longer Human.