Т.1. - 292 с.

По той бік добра" і "Генеалогія моралі" - популярні твори німецького філософа і поета Фрідріха Ніцше (1844-1900). У цих текстах порушуються проблеми добра і зла, "надлюдини", у містично-символічній, високопоетичній формі зроблено перегляд важливих людських вартостей, подано також цікаві сентенції та інтермедії.

Т. 1 : Народження трагедії. Невчасні міркування I—IV. Твори спадку 1870-1873. - 2004. - 770 с.

Первое украинское издание Полного собрания сочинений выдающегося немецкого философа Фридриха Вильгельма Ницше (1844-1900) является идентичным, за исключением двух предисловий, с «Критически-научным изданием» (KSA) в 15 томах, которое впервые появилось в 1980 году и было подготовлено на основе «Критического полного издания», составленного Джорджо Колли и Маццини Монтинари, вышедшего в издательстве «Вальтер де Гройтер» (Берлин - Нью-Йорк) в 1967 и последующих годах. Его Первый том содержит труды «Рождение трагедии », «Несвоевременные размышления»(I-IV), а также неопубликованные при жизни автора произведения базельского периода (1870-1873): внимательный читатель найдет возможность прочувствовать основную, трагическую, тональность творчества философа, что позволит не заблудиться в лабиринте его мысли.

Работа Фридриха Ницше, "Антихрист" созданна в 1888 году, чрезвычайно плодотворном для немецкого философа. В ней он обращается к тем, кто способен быть "честным в интеллектуальных вещах до жестокости", ибо только такие читатели способны вынести "серьезность и страсть", с которыми Ницше громит христианские ценности и низвергает саму идею христианства.

«Так казав Заратустра» — одна з найбільш відомих і популярних книг німецького філософа і поета Фрідріха Ніцше (1844—1900). Теми добра і зла, «надлюдини», переоцінки всіх цінностей втілено в цьому пам'ятникові світової літератури в міфічно-символічній, високопоетичній формі. «Жадання влади» — останній твір філософа, палка апологія людини, протест проти будь-яких форм духовного рабства.

I was first attracted to Friedrich Nietzsche as an undergraduate at Brigham Young University. He represented a radical independence of thought to me, and I wrote my senior honors paper on what then seemed the most provocative of his ideas. As a graduate student in intellectual history at the University of Chicago, I decided to write my dissertation about Nietzche as well. By that time, the fog of adolescent enthusiasm had cleared somewhat, and the categories of psychoanalysis came naturally to hand as a means of explaining his unusual manner of thinking. Fortunately, Professor William McNeill, my adviser, countenanced and even encouraged my interest in psychobiography. The psychoanalytic focus of the dissertation also led me to a rewarding association with D r. George Moraitis of the Institute for Psychoanalysis in Chicago, who helped me to appreciate my own psychological involvement with Nietzsche as well asto avoid some of the pitfalls of historical diagnosis. I became dissatisfied with my psychoanalytic treatment of Nietzsche's life as I realized that it did not suffice to illuminate the conjuncture of his ideas. Nietzsche had carefully constructed both his life and his works as monuments of creativity and had cast himself in the role of the genius. I began to explore the theory of genius, which had become, in the nineteenth century, a veritable ideology, a vehicle for conveying the grand aspirations of unusual individuals to the culture at large. Many writers and artists employed it, both to marshal their own energies and to construct themselves and their oeuvres to fit this new archetype of creative life, thus making themselves recognizable to the public. The question of how Nietzsche became a genius, or how he constructed himself as a genius, linked what I knew about his unique personality to the cultural category of genius, a socially constructed role. Nietzsche learned about it from widely revered examx pIes like Goethe and Schiller. With his need fo r fa therly mentors, he fa stened his attention upon these men and emulated them. And after an extended apprenticeship to Schopenhauer and Wagner, he assumed the mantle of genius fo r himself. With th is understanding Nietzsche's development, I was in a position to write a quite dIoolt rent book. In fa ct, I found that the complementary relationShIp of personal psychology and the culture of ge nius provides a strategy fo r investigating many other great and unique creative figures. I had a research agenda that went far beyond Nietzsche. I have a great many fr iends and colleagues to thank fo r th eir confidence in me and my gradually developing project, and for their fri endship. Thanks first to my far-flung fr ends who believed that I could bring this to fru ition; to fo rmer colleagues in the Department of History at the University of North Carol ina; in the Department of German at the University of Pittsburgh; and in the Departments of History at Appalachian State University and the University of North Carolina at Wilmington; and finally to my current colleagues at Miami University in Oxfo rd, Ohio. In the years SInce I began to write this book, I have incurred many other debts too personal to mention here, but no less gratefully re membered. For her sustaining confidence I am particularly grateful to Joyce Seltzer at The Free Press. Without her encouragement during the last several years, this book might not have been published. Without her intellectual advice and editorial criticism, it would bemuch less satisfactory than it is. To my daughter Laura, who can hardly know how uch she has helped with the book, I dedicate it.