From Nietzche to Kerouac. The Foundation, The Abyss, the Wandering

, Papazisis Editions, Athens 2013

What does wandering mean?

In order to answer this question we should have already given the answer to another one:

What does abyss mean?

Yet, this observation raises, in its turn, the following question:

What is the relation of abyss to the wandering or – and vice versa: what is the relation of wandering to the abyss?

Still – let’s pay attention: the revealing process of the questions does not end at this point. 

Another question lies under the initial one:

Given the relation between the wandering and the place (topos) as well as with the landscape of the places (topoi), the question that seems to emerge is the following:

What does a place of wandering mean?

And, last but not least, it is necessary to pose all these questions that at once make appear at the foreground of this discourse, that, which till this very moment was absent from the present textual reality – but not from life reality: The subject. 

The questions relevant to it are, thus, the following:

Firstly, what is a subject of wandering?

And, along with this question, inevitably, based on everything that preceded, once more, under a new perspective, the questions are posed, which the concrete, unfolding discourse has already formulated: 

What does wandering mean to the subject?

What does abyss mean to the subject?

What is the relation of abyss to the wandering or – and vice versa: what is the relation of the wandering to the abyss, for the subject?

The process of answering by us, as far as it concerns these questions, that is: regarding the relation of the subject to the abyss, the wandering and the landscape of its places, includes –or, maybe, recognizes– as its landmarks, firstly the following signs: tension, desire, power, annihilation – creation.

 And further on, when the process of answering the same questions is transferred to the roads of wandering that Nietzsche, Segalen, Eberhardt and Kerouac followed, it includes as its landmarks, relatively, the following signs – that, let us not forget, they continuously concern the subject as well as his relation to the abyss, the wandering and its places (topoi): theatre/traveling, exotism, desertness and strangeness. 

After all that has been said, the structure of our study will be more easily understood:



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