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Robert Kenneth Ressler (February 15, 1937 – May 5, 2013) was an American FBI agent and author. He played a significant role in the psychological profiling of violent offenders in the 1970s and is often credited with coining the term "serial killer", [2] though the term is a direct translation of the German term Serienmörder coined in 1930 by Berlin investigator Ernst Gennat.
Pages in category "Films about Friedrich Nietzsche" The following 4 pages are in this category, out of 4 total. This list may not reflect recent changes. B.
Nietzsche argues that more than what they value as "good" distinguishes noble and base. Even where agreement exists over what is good, what men consider a sufficient sign of possessing what is good differs (§ 194). Nietzsche describes love as the desire to possess a woman. The most unrefined form of the desire is also the most readily ...
Friedrich Wilhelm Nietzsche [ii] (15 October 1844 – 25 August 1900) was a German classical scholar, philosopher, and critic of culture, who became one of the most influential of all modern thinkers. [14]
In his book on Nietzsche, Mencken portrayed the philosopher as a proponent of anti-egalitarian aristocratic revolution, a depiction in sharp contrast with left-wing interpretations of Nietzsche. Nietzsche was declared an honorary anarchist by Emma Goldman, and he influenced other anarchists such as Guy Aldred, Rudolf Rocker, Max Cafard and John ...
Don't Be Afraid of the Dark was released on VHS through USA Home Video in the 1980s. [ citation needed ] It was released on DVD on August 18, 2009, by Warner Archive burn-on-demand service. This release went out of print the following year, but was remastered and re-released again on August 24, 2011. [ 1 ]
The film opens with the Russian-born novelist—who eventually became a member of Freud's 'Vienna Circle'—Lou Andreas-Salome (Katheryn Winnick) who had an unconsummated (Platonic) 'love affair' with German philosopher Friedrich Nietzsche (Armand Assante), and to whom he allegedly proposed in 1882 (although whether her claims are true is very much up for debate).
Nietzsche continues, and then adds that Wagner's music has revealed "some very minute and microscopic aspects of the soul … indeed he is the master of the very minute. But he does not want to be that!" Nietzsche suggests with a metaphor that Wagner prefers to create large works: "His character prefers large walls and audacious frescoes." [8] [9]