Tamsin Shaw is Associate Professor of European and Mediterranean Studies and Philosophy at NYU and the author of Nietzsche’s Political Skepticism.
 (February 2016)


The Psychologists Take Power

The Righteous Mind: Why Good People Are Divided by Politics and Religion

by Jonathan Haidt

The Better Angels of Our Nature: Why Violence Has Declined

by Steven Pinker
It is only recently that the claims of psychologists to moral expertise have come to be taken seriously. Contributing to their new aura of authority has been their association with neuroscience, with its claims to illuminate the distinct neural pathways taken by our thoughts and judgments. Neuroscience, it is claimed, has revealed that our brains operate with a dual system for moral decision-making.

Wonder Boys?

‘Faust’; etching by Rembrandt, circa 1652

Divine Fury: A History of Genius

by Darrin M. McMahon
Many of us now use the term “genius” as a simple expression of wonder, referring to a person or an achievement that we find inexplicably brilliant. But across its long history the term has accrued connotations that go far beyond this commonsense core, leading us into the realms of superstition, bad science, and subservience to questionable forms of authority.

Nietzsche: ‘The Lightning Fire’

Friedrich Nietzsche on the veranda of his parents’ house in Naumburg; portrait by Curt Stoeving, 1894. The inscription is from Thus Spoke Zarathustra: ‘My suffering and my pity/What do I care!/Am I striving for happiness?/I am striving for my work.’

The Flame of Eternity: An Interpretation of Nietzsche’s Thought

by Krzysztof Michalski, translated from the Polish by Benjamin Paloff
Nietzsche does not belong entirely to philosophers. He was a philosopher-poet concerned not simply with describing and explaining the world as he found it, but with identifying and employing the electrifying arts that make the world appear uncanny and ineffably deep. The current Anglophone literature on his work for the …


The Iago Problem

Daniel Craig as Iago in Sam Gold’s Othello at the New York Theatre Workshop, 2016

In Sam Gold’s subtly intelligent new Othello at the New York Theatre Workshop we find a more disturbing interpretation of Iago, one that perhaps (and unfortunately) makes it the necessary production for our times. Daniel Craig’s Iago is not a psychopath, or a victim of trauma, or a man deluded about right and wrong—he makes a choice. It is the voluptuous enjoyment that Nietzsche described. It is the freedom and exhilaration of moral insensibility.

Beethoven Beneath the Monolith

The chorus in Claus Guth's Fidelio, Salzburg Festival, 2015

For the obsessive seeker of meaning, contemporary opera productions can make for some difficult evenings. Fidelio, Beethoven’s only opera, is always challenging. Watching the Salzburg production, directed by Claus Guth, I was not shocked, but a little perplexed. By the end, the audience can no longer be sure what is supposed to be real and what unreal, who is imprisoned and who is imprisoning.