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Thus Spoke Zarathustra Friedrich Nietzsche

Friedrich Wilhelm Nietzsche was born October 15, 1844 – August 25, 1900. He was a nineteenth-century German philologist and philosopher. He wrote critiques of religion, morality, contemporary culture, philosophy, and science, using a distinctive German language style and displaying a fondness for aphorism. Nietzsche's influence remains substantial within and beyond philosophy, notably in existentialism and postmodernism. His style, and radical questioning of the value and objectivity of truth, raise considerable problems of interpretation, generating an extensive secondary literature in both continental and analytic philosophy. Nonetheless, his key ideas include interpreting tragedy as an affirmation of life, an eternal recurrence that has become subject to numerous interpretations, a reversal of Platonism, and a repudiation of (especially 19th-century) Christianity.

Nietzsche began his career as a philologist before turning to philosophy. At the age of 24 he became the Chair of Classical Philology at the University of Basel, the youngest ever holder of this post, but resigned in 1879 due to health problems, which would plague him for most of his life. In 1889 he exhibited symptoms of a serious mental illness, living out his remaining years in the care of his mother and sister until his death in 1900.

Thus Spoke Zarathustra (German: Also sprach Zarathustra, sometimes translated Thus Spake Zarathustra), subtitled A Book for All and None (Ein Buch für Alle und Keinen), is a work by German philosopher Friedrich Nietzsche, composed in four parts between 1883 and 1885. It famously declares that "God is dead", elaborates Nietzsche's conception of the will to power, and serves as an introduction to his doctrine of eternal return.


Described by Nietzsche himself as "the deepest ever written", the book is a dense and esoteric treatise on philosophy and morality, featuring as protagonist a fictionalized Zarathustra. The text encompasses passages of poetry and song, often mocking Judaeo-Christian morality and tradition.

Nietzsche injects myriad ideas into the book, but there are a few recurring themes. The overman (Übermensch), a self-mastered individual who has achieved his full power, is an almost omnipresent idea in Thus Spoke Zarathustra. Man as a race is merely a bridge between animals and the overman. Nietzsche also makes a point that the overman is not an end result for a person, but more the journey toward self-mastery.

The eternal recurrence, found elsewhere in Nietzsche's writing, is also mentioned. The eternal recurrence is the idea that all events that have happened will happen again, infinitely many times. Such a reality can serve as the litmus test for an overman. Faced with the knowledge that he would repeat every action that he has taken, an overman would be elated as he has no regrets and loves life.

The will to power is the fundamental component of human nature. Everything we do is an expression of the will to power. The will to power is a psychological analysis of all human action and is accentuated by self-overcoming and self-enhancement. Contrasted with living for procreation, pleasure, or happiness, the will to power is the summary of all man's struggle against his surrounding environment as well as his reason for living in it.

Copious criticisms of Christianity can be found in Thus Spoke Zarathustra, in particular Christian values of good and evil and its purported lie of an afterlife. Nietzsche sees the complacency of Christian values as fetters to the achievement of overman as well as on the human spirit. Contrasting sharply with Christianity, Nietzsche praises lust, selfishness, while reproaching the rewarded concepts of pity and love for neighbors.


Nietzsche is considered unique among philosophers by some scholars for what is widely regarded as the power and effectiveness of his rhetorical style — particularly as manifested in Zarathustra. The indigestible "heaviness" long associated with German-language philosophy is eschewed, with puns and paradoxes abounding, and aphoristic brevity characteristic of parable and even poetry. The end result is a manner of writing which, being "pitched half-way between metaphor and literal statement", is "something quite extraordinary".

A vulnerability of Nietzsche's style is that his nuances and shades of meaning are very easily lost — and all too easily gained — in translation. The Übermensch is particularly problematic: the equivalent "Superman" found in dictionaries and in the translations by Thomas Common and R.J. Hollingdale may create an unfortunate association with the heroic comic-character "Superman", while simultaneously detracting from Nietzsche's repeated play on "über".

The "Übermensch" is the being that overcomes the "great nausea" associated with nihilism; that overcomes that most "abysmal" realization of the eternal return. He is the being that "sails over morality", and that dances over gravity (the "spirit of gravity" is Zarathustra's devil and archenemy). He is a "harvester" and a "celebrant" who endlessly affirms his existence, thereby becoming the transfigurer of his consciousness and life, aesthetically. He is initially a destructive force, excising and annihilating the insidious "truths" of the herd, and consequently reclaiming the chaos from which pure creativity is born. It is this creative force exemplified by the Übermensch that justifies suffering without displacing it in some "afterworld".

christian movies Andrei Tarkovsky biography interview

Andrei Arsenyevich Tarkovsky (aged 54) was born April 4, 1932 in Zavrazhye, Soviet Union and died December 29, 1986 in Paris, France. He was a Russian film director, writer and opera director. Although Tarkovksy directed only seven feature films during his twenty-year active career, he is widely regarded as one of the most important and influential filmmakers of the late 20th century. He attained critical acclaim for directing such films as Andrei Rublev, Solaris and Stalker.

Tarkovsky also worked extensively as a screenwriter, film editor, film theorist and theater director. He directed most of his films in the Soviet Union, with the exception of his last two films which were produced in Italy and Sweden. His films are characterized by Christian spirituality and metaphysical themes, extremely long takes, lack of conventional dramatic structure and plot, and memorable images of exceptional beauty.

Tarkovsky is mainly known as a director of films. During his career he directed only seven feature films, and three short films during his time at the film school. He also wrote several screenplays, directed stage play Hamlet in Moscow, the opera Boris Godunov in London, and directed a radio production of the short story Turnabout by William Faulkner. He also wrote Sculpting In Time, a book on film theory.

Tarkovsky's first feature film was Ivan's Childhood in 1962. He then directed in the Soviet Union Andrei Rublev in 1966, Solaris in 1972, Mirror in 1975 and Stalker in 1979. The documentary Voyage in Time was produced in Italy in 1982, as was Nostalghia in 1983. His last film The Sacrifice was produced in Sweden in 1986. Tarkovsky was personally involved in writing the screenplays for all his films, sometimes together with a co-writer. To Tarkovsky a director who realizes somebody else's screenplay without being involved in the creation of the screenplay becomes a mere illustrator, resulting in dead and monotonous films.

Tarkovsky's films are characterised by Christian and metaphysical themes, extremely long takes, and memorable images of exceptional beauty. Recurring motifs in his films are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera.

Tarkovsky included levitation scenes into several of his films, most notably Solaris. To him these scenes possess great power and are used for its photogenic value and its magic inexplicability. Likewise, water is also used by him for its photogenic value and its beauty, in particular in the form of brooks or running water.

Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.

Up to, and including, his film Mirror, Tarkovsky focused his cinematic works on exploring this theory. After Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day.

Several of Tarkovsky's films are shot both in color and black and white, including for example Andrei Rublev which features an epilogue in color, and Solaris and Mirror, which feature several black and white sequences. In 1966, in an interview conducted shortly after finishing Andrei Rublev, Tarkovsky dismisses color film as a "commercial gimmick" and doubts that contemporary films meaningfully use color. He claims that in everyday life one does not consciously notice colors most of the time. Hence in film color should be used mainly to emphasize certain moments, but not all the time as this distracts the viewer. To him, films in color are like moving paintings or photographs, which are too beautiful to be a realistic depiction of life.
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bogini Artemida attiki Peloponnese Attica

In Greek mythology, Artemis was the daughter of Zeus and Leto, and the twin sister of Apollo. She was the goddess of forests and hills and was often depicted as carrying a bow and arrows. The deer and the cypress were sacred to her.
Artemis was one of the most widely venerated of the gods and one of the oldest. Her later association with the moon is a popular idea which has little foundation. She later became identified with Selene, a Titaness who was a Greek moon goddess, and she was sometimes depicted with a crescent moon above her head. She also became identified with the Roman goddess Diana and with the Etruscan goddess, Artume.
Artemida is a suburban town in east Attica, approximately 25 km east of Athens, S of Rafina, NE of the Eleftherios Venizelos International Airport, E of the Attiki Odos and N of Lavrio.
The population was rural until the 1980s and the 1990s; the population became urban as suburban housing popped up around Artemida's coastline. Housing developments continue to this day and some are intermingled with farmlands or empty land.
Artemida is situated on a plain, with mountains that are covered with forests to the northwest and another deforested rocky mountain to the south, in a farm setting filled with grasslands, some pine forests, rocks and groves and some farmlands. The street system is gridded in a couple of angles aligning with the sea along with residential houses. The forests which include pine, spruce and others, along with forest roads are to the northwest and covers most of the north coast. The July 29 forest fire consumed only the northwestern part but did not threaten the town. The Petalies Gulf lies to the east.
Artemida is famous for its beach stretching over most of the east coast except for some parts, as well as for hotels, bars, restaurants and local taverns.
Artemida is a village near Zacharo in southwestern Ilia prefecture on the northwestern corner of the Peloponnese region of Greece. The village was completely destroyed in the 2007 Greek forest fires. Twenty-three residents of Artemida lost their lives.
On August 30, 2007, the Government of Cyprus announced that it will completely reconstruct the village and cover the complete cost of doing so.