Eternalised

In Either/Or, Kierkegaard dedicates a chapter on the problem of boredom and the difficulty of maintaining happiness, and proposes his solution for it through the aesthetic sphere of existence.   To explain how one avoids boredom, the aesthete’s worst enemy, he proposes “crop rotation” as an attempt at a theory of social prudence. It is a sort of science of seeking pleasures characteristic of the reflective aesthete, and not mindlessly doing it as an unreflective aesthete, such as the legend of Don Juan.    This method can be done extensively or intensively. The aesthete proposes the intensive cultivation of pleasure as the means to avoid boredom, achieve pleasure and subsequently, happiness. ☕ Donate a coffee ⭐ Support on Patreon Send me anything you like to my mailing address: Eternalised P.O. Box 10.011 28080 Madrid, Spain ━━━━━━━━━━━━━ ⌛ Timestamps (0:00) Introduction (0:45) Boredom (5:10) Crop Rotation: Extensive Cultivation (6:33) Crop Rotation: Intensive Cultivation (7:35) Remembering and Forgetting (10:33) Arbitrariness (13:00) Conclusion

Nietzsche recommends to spend some of our time in complete solitude. To reflect upon the inner voice that conditions our life which is the product of the common conscience of society.  Solitude is but a temporary matter. He also recommends to spend time with people who possess virtues of the love of life, these “higher men” allow for mental elevation. An individual who isolates himself without ever valuing external opinions will only have his conscience with himself and nobody to ever confront or challenge his views.   Solitude is thus not just a result of the contempt of the masses, but allows to forge a more profound longing for a community that allows one to explore the best version of oneself. Company is important, and if chosen well – can be mutually beneficial.   In this sense, solitude is compatible with life in community, but it is also necessary to retreat into complete solitude once in a while, in order to receive its fruits. ☕ Donate a coffee ⭐ Support on Patreon Send me anything you like to my mailing address: Eternalised P.O. Box 10.011 28080 Madrid, Spain

Nietzsche’s Übermensch (Overman) is among the most important of his teachings, along with the eternal recurrence and the will to power.  The appearance of the overman most famously occurs in Thus Spoke Zarathustra. He is declared as “the meaning of the earth”. The overman is the ultimate form of man, he is one who overcomes nihilism by creating his own values and focusing on this life, not the afterlife.    He puts all his faith in himself as an autonomous creator and relies on nothing else. He is the pinnacle of self-overcoming, to rise above the human norm and above all difficulties, embracing whatever life throws at you. He is one who overcomes mediocrity and is not afraid to live dangerously.    We’ll be exploring the translation and origins of the Übermensch, its connection with Nietzsche’s early conception of the “free spirit”, the relation between the three metamorphoses, the tightrope walker, the last man, the higher man, the death of god and we'll finish by comparing it with the eternal recurrence and the will to power, where self-overcoming is what unites everything together. ☕ Donate a coffee ⭐ Support on Patreon Send me anything you like to my mailing address: Eternalised P.O. Box 10.011 28080 Madrid, Spain ━━━━━━━━━━━━━ ⌛ Timestamps (0:00) Introduction (0:22) Translation and Origins of “Übermensch” (1:30) The Overman and The Free Spirit (2:10) The Overman and The Final Metamorphosis (3:41) What is the Overman? (4:40) First Appearance of The Overman (5:57) The Overman and Thus Spoke Zarathustra (8:56) The Overman and The Last Man (9:43) The Tightrope Walker (12:05) The Overman: “The Meaning of The Earth” (13:12) The Overman and The Death of God (15:43) The Overman and The Higher Man (17:55) The Overman, The Eternal Recurrence, The Will to Power

The Present Age was published in 1846 by Søren Kierkegaard. He discusses the philosophical implications of a society dominated by mass media, foreseeing the rise of twenty-four hour news and social media, it examines the philosophical implications of a culture of endless, inconsequential commentary and debate – a society eerily similar to our own. ☕ Donate a coffee ⭐ Support on Patreon ━━━━━━━━━━━━━ ⌛ Timestamps (0:00) Introduction (2:20) Ice Skater Analogy (3:40) Reflective Tension (5:00) Ressentiment (6:22) Levelling (7:12) The Public (8:26) The Leap

Human, All Too Human: A Book for Free Spirits was published by Friedrich Nietzsche in 1878 and represents a “monument of a crisis” for Nietzsche, a critical turning point in his life and thought. The book marks the beginning of a second period in Nietzsche’s philosophy, his period as an independent philosopher. ☕ Donate a coffee ⭐ Support on Patreon ━━━━━━━━━━━━━ ⌛ Timestamps (0:00) Introduction (1:40) The Structure of the Work (2:20) Preface (3:17) I. Of First and Last Things (4:15) II. On the History of Moral Feelings (5:15) III. Religious Life (6:05) IV. From the Soul of Artists and Writers (6:42) V. Signs of Higher and Lower Culture (7:52) VI. Man in Society (8:03) VII. Woman and Child (8:39) VIII. A Look at the State (8:58) IX. Man Alone with Himself (9:27) Among Friends: An Epilogue

The will to power is one of the most fundamental concepts in the philosophy of Friedrich Nietzsche. It is also one of his most complex concepts as it was never systematically defined in his works, leaving its interpretation open to debate.    The central point revolves around gaining power over oneself, not others. It is the expression of self-overcoming, becoming who you truly are.   This episode intends to shed light on this concept, tracing all the way back from his psychological insights of the "desire for power'" to the conception of "will to power", as well as its relationship with the "will to existence", "will to live" and "will to truth".   We will be focusing on what Nietzsche actually wrote and published himself during his active years, as well as making some references to his posthumously published notes (The Will to Power) where it is appropriate. ☕ Donate a coffee ⭐ Support on Patreon ━━━━━━━━━━━━━ ⌛ Timestamps (0:00) Introduction (2:07) Desire for Power: A Psychological Insight (5:37) The Origin of the “Will to Power” (7:18) Will to Power and Self-overcoming (8:57) Will to Power and Sublimation (10:24) Will to Power as Dualistic (11:10) Will to Power vs Will to Existence (Nietzsche contra Darwin) (13:55) Will to Power vs Will to Live (Nietzsche contra Schopenhauer) (15:49) Will to Power vs Will to Truth (Nietzsche contra Philosophers) (16:56) Will to Power and Metaphysics (20:44) Conclusion

Either/Or: A Fragment of Life was published by Søren Kierkegaard in 1843, making it his first major work. It was written under the pseudonym Victor Eremita “Victorious Hermit”.    The book expresses the viewpoints of two distinct figures with radically different beliefs – the unknown aesthetic young man of Part One, called simply “A”, and the ethical judge of Part II, which he calls “B”.  The first part "Diapsalmata" contains some of Kierkegaard's most popular lines, such as the "unmovable chess piece", "the tragic clown", and "do it or don't do it, you'll regret it".   Kierkegaard was far more interested in making us think than in giving us answers. We are thus encouraged to decide for ourselves the merits of the various viewpoints presented. ☕ Donate a coffee ⭐ Support on Patreon ━━━━━━━━━━━━━ ⌛ Timestamps (0:00) Introduction (0:13) Preface (0:31) Part I. Containing the Papers of "A". Diapsalmata (1:29) Part I. The Immediate Erotic Stages or the Musical Erotic (2:41) Part I. Ancient Tragedy’s Reflection in the Modern (3:15) Part I. Shadowgraphs (3:57) Part I. The Unhappiest One (4:50) Part I. Crop Rotation (6:14) Part I. The Seducer’s Diary (7:14) Part II. Containing the Papers of “B”. The Aesthetic Validity of Marriage (7:58) Part II. Equilibrium between the Aesthetic and the Ethical (8:58) Part II. Last Word (9:23) Part II. The Edifying in the Thought that Against God We Are Always in the Wrong

Memories, Dreams, Reflections is the autobiography of Carl Jung written in collaboration with his close associate Aniela Jaffé. It was published a year after his death in 1962.  At his advanced age he would not undertake anything of the sort unless he felt it was a “task” imposed on him from within. At his advanced age he would not undertake anything of the sort unless he felt it was a “task” imposed on him from within.    Jung had spoken with many great men of his time but only a few of these occasions remained in his memory. On the other hand, his recollection of inner experiences had grown all the more vivid.   This book is the only place in his extensive writings in which Jung speaks of God and his personal experience of God. In his scientific works he uses the term “the God-image in the human psyche” based on the objective language of scientific inquiry, while in this case it is subjective, based on inner experience. ☕ Donate a coffee ⭐ Support on Patreon ━━━━━━━━━━━━━ ⌛ Timestamps (0:00) Introduction (0:52) Prologue (1:31) I. First Years (2:06) II. School Years (2:50) III. Student Years (3:30) IV. Psychiatric Activities (4:40) V. Sigmund Freud (5:11) VI. Confrontation with the Unconscious (6:26) VII. The Work (6:51) VIII. The Tower (7:14) IX. Travels (7:55) X. Visions (9:03) XI. On Life After Death (9:19) XII. Late Thoughts (9:34) Retrospect

Waiting for Godot is a 1953 play by Samuel Beckett that has become one of the most important and enigmatic plays of the 20th century. The story revolves around two men waiting for someone – or something – named Godot. His play remains one of the most magical and beautiful allegories of our time.  Beckett was awarded the Nobel Prize in literature and commended for having “transformed the destitution of man into his exaltation”.  Waiting for Godot belongs to "The Theatre of the Absurd”, focusing on absurdist fiction. It shares the existentialist condition that there is no God or superior knowledge we can depend on.  However, a major difference from existentialism that it does not share that we can create our own meaning.   It is better described as an absurdist play. This stems from the absurdist philosophy of Albert Camus, who describes the Absurd in his essay “The Myth of Sisyphus”, as the human incapacity of finding meaning in a meaningless world. The characters are doomed to be faced with the Absurd, and all they can do is try to pass the time. ☕ Donate a coffee ⭐ Support on Patreon ━━━━━━━━━━━━━ ⌛ Timestamps (0:00) Introduction (2:10) Act I (6:28) Act II (8:23) Analysis

The Dream of a Ridiculous Man is a short story published in 1877 by Fyodor Dostoevsky. It is practically a complete encyclopedia of Dostoevsky’s most important themes.   Most of Dostoevsky’s major characters always have “something ridiculous” about them, but they are simultaneously highly self-conscious and capable of deep insight into themselves and the world.    The story opens with the narrator contemplating the ridiculousness of his own life, and his recent realisation that there is nothing of any value in the world, everything to him appears as indifferent.   Dostoevsky's The Dream of a Ridiculous Man, explores the dangers of nihilism and rational egoism, as well as the importance of suffering.    "The consciousness of life is higher than life, the knowledge of happiness is higher than happiness – that is what we have to fight against!” ☕ Donate a coffee ⭐ Support on Patreon