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Therese Elisabeth Alexandra Förster-Nietzsche (10 July 1846 – 8 November 1935) was the sister of philosopher Friedrich Nietzsche and the creator of the Nietzsche Archive in 1894. Förster-Nietzsche was two years younger than her brother.
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] He began his career as a classical philologist before turning to philosophy.
According to Anna Freud, her work Friedrich Nietzsche in seinen Werken (Friedrich Nietzsche in his works) anticipated the psychoanalysis. [16] It was the first book about the German philosopher. [17] Anna Freud and von Salomé, who met in Vienna, had a long-time correspondence, like Sigmund Freud and von Salomé. [18]
Ida von Miaskowski was the wife of the economist August von Miaskowski, who taught at the University of Basel. Between 1874 and 1876 Nietzsche had close relations with her family. In her memoir of Nietzsche, published seven years after his death, she remarked:
Beryl Davies, 79, told BBC that she was “in total shock” after being contacted about a video that depicted her marriage to her late ex-husband, Griff, in a village near Cardigan, Ceredigion in ...
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).
Inscription: "The philosopher Friedrich Nietzsche lived here visiting his mother between 1890 and 1897" The Nietzsche-Haus in Naumburg , Germany, is a building dedicated to the life and work of the German philosopher Friedrich Nietzsche .
It recalls the whipping of a horse in the Italian city of Turin that is rumoured to have caused the mental breakdown of philosopher Friedrich Nietzsche. The film is in black-and-white, shot in only 30 long takes by Tarr's regular cameraman Fred Kelemen, [3] and depicts the repetitive daily lives of the horse-owner and his daughter.