Epic Poem of Western Philosophy deconstructing the Philosophy Literature of Western Metaphysics.

824. That Free Spirited Deers of Thoughts No More 825. Fleet Deserted Nymph Woodlands nor Fields Pure.

This is the philosophical novel that was my Master's degree thesis

Steven, you should DEFINITELY continue to give your life to . . . literary novels (notice I omitted “obscure”).  What you have produced is a phenomenal work.  Others, in the past, have attempted to do something like you have done, but they did not come close to creating a work with such breadth and depth as you.   I apologize for taking so very long to complete the reading of your work, but it is very densely written in some sections, while others seem to be as lucid as anything I have ever read.  Your vocabulary probably exceeds my own (“fulgurant”), for which I am thankful, as I always enjoy being taught the existence of words I have not yet incorporated into my own lexicon.   The most successful parts of your work—for me—were the interactions between Luk, Aus, and the central character, as those passages moved the story along.  I think using the unrest and waging of police action in Bangkok sets up the intellectual discontent in the rest of the novel, but I would wish for a more balanced unfolding of the story with the intellectual ruminations.  The least successful passages for me were sometimes extremely lengthy sen...

The best summary of Nietzsche's philosophy by Nietzsche. Twilight of the Idols is Nietzsche’s polemic tract attacking: writers, philosophers, views, worldviews, schools, position, arguments, idols, truths, nations, rationalism, -ismologies, causality, improvers, morality, religions, artists, modern ideas, believers, etc. Nietzsche also puts forth his own ideas – read slowly. Translated from German to English by Daniel Fidel Ferrer (February 2013). Twilight of the Idols or How to Philosophize with a Hammer / By Friedrich Nietzsche (1844-1900). [Götzen-Dämmerung. English]. Translation of text, afterward, notes, letters, and appendixes by ©Daniel Fidel Ferrer, 2013. 1. Philosophy. 2). Metaphysics. 3). Philosophy, German. 4). Philosophy, German -- 19th century. 5). Philosophy, German – Greek influences. I. Nietzsche, Friedrich Wilhelm, 1844-1900. II. Ferrer, Daniel Fidel, 1952-. ...

"From the military school (Kriegsschule) of life. - What does not kill me makes me stronger. (Aus der Kriegsschule des Lebens. — Was mich nicht umbringt, macht mich stärker). [Translator note. This maxim (#8) is one of the most famous quotes from Nietzsche. See the concept Kriegsschule’ in Nietzsche’s notebook of Spring 1888 18 [1]. A slightly different versions of this section is in one of the Nietzsche’s notebook and has this version of the maxim #8: “What does not kill us — that bring us to that makes us stronger. Il faut le tuer Wagnerisme.” English translation from French of the last sentence might be: “He must be killed, Wagnerism”. Spring 1888 15 [118]. Complete text in German and French for the other version: [“Was uns nicht umbringt — das bringen wir um, das macht uns stärker. Il faut tuer le Wagnerisme”]. Notebook: Spring 1888 15 [118]. From the Preface: "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? And are new idols sounded out?... This little essay is a great declaration of war (grosse Kriegserklärun...

Table of Contents 1). Twilight of the Idols or How to Philosophize with a Hammer (pages 3 - 80). Main text. Starting with Nietzsche’s Preface. 2). Afterward Notes (pages 81 - 83). 3). Dedication and Acknowledgements (page 83). 4). Appendix A. Section on “Twilight of Idols” from “Ecce Homo” (pages 84 - 87). 5). Appendix B. Selections from Nietzsche’s Notebooks and Letters concerning “Twilight of Idols” (pages 88 - 93). 6). Appendix C. Select chronology of Nietzsche’s life (pages 94 - 95). 7). Word index (pages 96 - 156). ...

Walt Whitman (1819-1892) is widely considered to be the greatest and most influential of all American poets. LEAVES OF GRASS, Whitman's sole book published at his own expense, represents almost the entirety of his poetical output. The first edition of LEAVES OF GRASS, which he would continue to revise over the course of his life expanding and rewriting it until the year of his death, appeared in 1855. This volume represents the final edition, commonly referred to as the “deathbed” edition, and comes with a prefatory note from Whitman asserting that this is the version he most considered full and complete. While it was a commercial and critical failure during Whitman’s lifetime, LEAVES OF GRASS has gone on to become one of the most canonical books of poetry ever written, influencing and inspiring countless artists in the last two centuries. Written in a groundbreaking prosodic style Whitman referred to as “free verse” LEAVES OF GRASS takes the individual and a young American democracy as its themes and illustrates them with a long-lined cadence Whitman coined his “barbaric yawp” along with all the details that constitute them, a few ...

O Captain! My Captain! O Captain! my Captain! our fearful trip is done, The ship has weather’d every rack, the prize we sought is won, The port is near, the bells I hear, the people all exulting, While follow eyes the steady keel, the vessel grim and daring;                     But O heart! heart! heart!                          O the bleeding drops of red,                               Where on the deck my Captain lies,                                    Fallen cold and dead. O Captain! my Captain! rise up and hear the bells; Rise up—for you the flag is flung—for you the bugle trills, For you bouquets and ribbon’d wreaths—for you the shores a-crowding, For you they call, the swaying mass, their eager faces turning;                     Here Captain! dear father!                          This arm beneath your head!                               It is some dream that on the deck,                                    You’ve fallen cold and dead.   My Captain does not answer, his lips are pale and still, My father does not feel my arm, he has no pulse nor will, The ship is anchor’d safe and sound, its voyage closed...

Contents Introduction LEAVES OF GRASS INSCRIPTIONS One's-Self I Sing As I Ponder'd in Silence In Cabin'd Ships at Sea To Foriegn Lands To a Historian To Thee Old Cause Eidólons For Him I Sing When I Read the Book Beginning My Studies Beginners To the States On Journeys through the States To a Certain Cantatrice Me Imperturbe Savantism The Ship Starting I Hear America Singing What Place Is Besieged Still though the One I Sing Shut Not Your Doors Poets to Come To You Thou Reader STARTING FROM PAUMANOK SONG OF MYSELF CHILDREN OF ADAM To the Garden the World From Pent-Up Aching Rivers I Sing the Body Electric A Woman Waits for Me Spontaneous Me One Hour to Madness and Joy Out of the Rolling Ocean the Crowd Ages and Ages Returning at Intervals We Two, How Long We Were Fool'd O Hymen! O Hymenee! I Am He that Aches with Love Native Moments Once I Pass'd through a Populous City I Heard You Solemn-Sweet Pipes of the Organ Facing West from California's Shores As Adam Early in the Morning CALAMUS In Paths Untrodden Scented Herbage of My Breast Whoever You Are Holding Me Now in Hand For Y...

The whole paradoxist distich should be as a geometric unitary parabola, hyperbola, ellipse at the borders between art, philosophy, rebus, and mathematics – which exist in complementariness. The School of Paradoxist Literature, which evolved around 1980s, continues through these bi-verses closed in a new lyric exact formula, but with an opening to essence. For this kind of procedural poems one can elaborate mathematical algorithms and implement them in a computer: but, it is preferable a machine with … soul!...

I M M O D E S T With the shame Shamelessness U N D E C I D E D Fighting Himself J A Z Z ( I ) Melodious Anarchy J A Z Z ( I I ) Anarchic Melody...

Fore/word and Back/word _________ 3 The making of the distich : _____ 3 Characteristics: ______________ 3 Historical considerations: _____ 5 Types of Paradoxist distiches ___ 8 1. Clichés paraphrased: ___ 8 2. Parodies: _____________ 8 3. Reversed formulae: ____ 8 4. Double negation _______ 8 5. Double affirmation, ____ 8 6. Turn around on false tracks: _________________ 8 7. Hyperboles (exaggerated): __________________ 8 8. With nuance changeable from the title: ________ 8 9. Epigrammatic: ________ 8 10. Pseudo-paradoxes: ___ 8 11. Tautologies: ________ 9 12. Redundant: _________ 9 13. Based on pleonasms: _ 9 14. or on anti-pleonasms: 9 15. Substitution of the attribute in collocations ___ 9 16. Substitution of the complement in collocations 9 17. Permutation of various parts of the whole: ___ 9 18. The negation of the clichés ______________ 10 19. Antonymization (substantively, adjectively, etc.) ________________ 10 20. Fable against the grain: _________________ 10 21. Change in grammatical category (preserving substitutions’ homonymy): ________________ 10 22. Epistolary or colloquia style: _________...