The "aphoristic form causes difficulty," Nietzsche argued in 1887, for "today this form is not taken seriously enough." Nietzsche's Aphoristic Challenge addresses this continued neglect by examining the role of the aphorism in Nietzsche's writings, the generic traditions in which he writes, the motivations behind his turn to the aphorism, and the reasons for his sustained interest in the form. This literary-philosophical study argues that while the aphorism is the paradigmatic form for Nietzsche's writing, its function shifts as his thought evolves. His turn to the aphorism in Human, All Too Human arises not out of necessity, but from the new freedoms of expression enabled by his critiques of language and his emerging interest in natural science. Yet the model interpretation of an aphorism Nietzsche offers years later in On the Genealogy of Morals tells a different story, revealing more about how the mature Nietzsche wants his earlier works read than how they were actually written. This study argues nevertheless that consistencies emerge in Nietzsche's understanding of the aphorism, and these, perhaps counter-intuitively, are best understood in terms of excess. Recognizing the changes and consistencies in Nietzsche's aphoristic mode helps establish a context that enables the reader to navigate the aphorism books and better answer the challenges they pose.

The "aphoristic form causes difficulty," Nietzsche argued in 1887, for "today this form is not taken seriously enough." Nietzsche's Aphoristic Challenge addresses this continued neglect by examining the role of the aphorism in Nietzsche's writings, the generic traditions in which he writes, the motivations behind his turn to the aphorism, and the reasons for his sustained interest in the form. This literary-philosophical study argues that while the aphorism is the paradigmatic form for Nietzsche's writing, its function shifts as his thought evolves. His turn to the aphorism in Human, All Too Human arises not out of necessity, but from the new freedoms of expression enabled by his critiques of language and his emerging interest in natural science. Yet the model interpretation of an aphorism Nietzsche offers years later in On the Genealogy of Morals tells a different story, revealing more about how the mature Nietzsche wants his earlier works read than how they were actually written. This study argues nevertheless that consistencies emerge in Nietzsche's understanding of the aphorism, and these, perhaps counter-intuitively, are best understood in terms of excess. Recognizing the changes and consistencies in Nietzsche's aphoristic mode helps establish a context that enables the reader to navigate the aphorism books and better answer the challenges they pose.

New essays re-evaluating Weimar cinema from a broadened, up-to-date perspective. Traditionally, Weimar cinema has been equated with the work of a handful of auteurist filmmakers and a limited number of canonical films. Often a single, limited phenomenon, "expressionist film," has been taken as synonymous with the cinema of the entire period. But in recent decades, such reductive assessments have been challenged by developments in film theory and archival research that highlight the tremendous richness and diversity of Weimar cinema. This widening of focus has brought attention to issues such as film as commodity; questions of technology and genre; transnational collaborations and national identity; effects of changes in socioeconomics and gender roles onfilm spectatorship; and connections between film and other arts and media. Such shifts have been accompanied by archival research that has made a cornucopia of new information available, now augmented by the increased availability of films from the period on DVD. This wealth of new source material calls for a re-evaluation of Weimar cinema that considers the legacies of lesser-known directors and producers, popular genres, experiments of the artistic avant-garde, and nonfiction films, all of which are aspects attended to by the essays in this volume. Contributors: Ofer Ashkenazi, Jaimey Fisher, Veronika Fuechtner, Joseph Garncarz, Barbara Hales, Anjeana Hans, Richard W.McCormick, Nancy P. Nenno, Elizabeth Otto, Mihaela Petrescu, Theodore F. Rippey, Christian Rogowski, Jill Smith, Philipp Stiasny, Chris Wahl, Cynthia Walk, Valerie Weinstein, Joel Westerdale. Christian Rogowski is Professor of German at Amherst College.