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by using the term to demonstrate the difference between "the representation of the intellect" and the "subject" itself. In this dialogue between intellect and matter he wrote: "Whoever thinks me away, and then believes he can still think of you, is involved in a gross delusion; for your existence outside my representation is a direct contradiction, a wooden-iron." (See Payne's trans., WWR 2:17.) Friedrich Nietzsche, who was an avid Schopenhauer scholar, continued to employ the term throughout his writings in the latter half of the 19th century. Nietzsche's experience with Philology also brought new meaning to the term. He attacked Moritz Carrière 's so-called "real idealism" (see Notebooks Fall 1873—Winter 1873-74 30 He used it to describe Richard Wagner 's "infinite melody" (see Notebooks Fall 1881 11[198 ). He also considered "unegoistic actions" and "unegoistic drives" to be examples Wooden Iron (see Notebooks Summer-Fall 1884 26 He similarly dismissed philosophical concepts of "pure knowledge" and "thing in itself" (see Notebooks Summer-Fall 1884 26[413 ). The term was also employed in his poetic attempts to criticize socialism and the building of a "free society" (see Book 5 of The Gay Science , §356). SEE ALSO EXTERNAL LINKS
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