Though Nietzsche's lifelong fascination with Wagner's Tristan and Isolde is well documented, its impact upon the developmental trajectory of his philosophy and in particular, his thinking on the nature of eroticism remains far from obvious. This article examines the previously unheralded influence of Wagner's opera on Nietzsche's various attempts, throughout the 1880s, at forging an alternative conception of erotic desire—a conception no longer subordinated to the pursuit for fusional reconciliation but rather linked to the eternal return and the unconditional affirmation of distance itself.
In her article, ‘Two erotic ideals’, Fiona Ellis offers a sustained critique of my interpretation of Nietzschean eroticism. In the following piece, I respond to her criticism by proposing a shift in emphasis away from ‘erotic ideals’ and towards a greater attentiveness to the physiological states that condition our desire. I argue that such a move allows us to see how questions about eroticism and questions about nihilism are in fact integrally connected.
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