The Limits of Metaphor in Nietzsche's Genealogy of Morals

Q4 Arts and Humanities Nineteenth Century Prose Pub Date : 2005-03-22 DOI:10.2307/j.ctv16kkx6n.24
R. Robertson
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引用次数: 1

Abstract

It is a commonplace that Nietzsche makes heavier use of metaphor than most philosophers. But the boundaries between metaphor and literal language are unclear, especially when Nietzsche uses biological terms. Recent commentators, anxious to avoid biological reductionism, have interpreted such terms as purely metaphorical. But recent studies suggest that Nietzsche worked within a nineteenth-century intellectual context that may be called 'biologism,' which saw biology as providing models for processes in other areas of life, but did not reduce them to biology. To test this insight, the present article examines particularly the metaphors (or apparent metaphors) used for processes of change in The Genealogy of Morals, showing how Nietzsche draws on two branches of scholarship that he especially valued: philology and biology. At certain difficult points in Nietzsche's argument, these metaphors come under strain, especially when Nietzsche applies a whole series of incompatible metaphors to explain (or seem to explain) the development of 'slave morality.' ********** Nietzsche's Genealogy of Morals is a hugely, almost insanely ambitious treatise. It undertakes to explain the origins not only of morals but of society, custom, law, class differences, religion, priesthood, and scholarship--all under the sign of the Will to Power. Being concerned with origins, it is also concerned with change and continuity. It asks, for example, how primitive man, who lived from day to day, was changed, over the millennia, into the modern autonomous subject capable of remembering the past and making promises about the future. But it also undertakes to reveal the continuity, for instance, between the early priest with his terrifying ascetic practices and the modem scholar whose asceticism takes the form of a devotion to truth. Nietzsche therefore needs models for change combined with continuity, and he finds two such models in the sciences of his own day. One is philology, which traces the transformation of words; the other is evolutionary biology, which examines the transformation of organisms. In addition, especially in the third essay, he appeals also to physiology and medicine. His constant reference to these sciences gives Nietzsche's late prose a rich metaphorical texture. Where, though, does metaphor stop and literal meaning begin? Many of Nietzsche's recent interpreters ascribe to him a radical epistemological skepticism that would deny the possibility of knowledge and truth. Hence there could be no literal language, because there would be no solid reality for such language to refer to. And indeed The Genealogy of Morals ends by questioning the search for truth, describing it as the last remnant of Christian asceticism, and speaking admiringly of the Islamic sect whose secret doctrine was "Nothing is true, everything is permitted" (III, 24). (1) Yet the Preface seems to announce a factual, scholarly, painstaking search for the truth about morality. Contrasting his own project with the Kantian concept of an innate sense of right and wrong, Nietzsche explains his conviction that morality has a history. He found some provocation in the English philosophers who traced the "moral sense" back to sociability or utility. In order to approach "the real history of morality" (Preface 7; emphasis in original, here and elsewhere), however, his hypotheses needed a firmer basis. Instead of such speculation "into the blue," his approach is "grey": "by that I mean what has been documented, what is really ascertainable, what has really existed, in short, the whole long hieroglyphic text, so difficult to decipher, of humanity's moral past!" (Preface 7). Astonishingly for postmodern interpreters of Nietzsche, this sounds very like a commitment to ascertainable data. These data are to be found especially in two sciences that Nietzsche in another late work, The Antichrist (section 47), described as "the two greatest opponents of all superstition, philology and medicine. …
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尼采《道德谱系》中隐喻的局限
众所周知,尼采比大多数哲学家更多地使用隐喻。但是隐喻和字面语言之间的界限是不清楚的,尤其是当尼采使用生物学术语时。最近的评论员急于避免生物还原论,将这些术语解释为纯粹的隐喻。但最近的研究表明,尼采在19世纪的知识背景下工作,可能被称为“生物主义”,它认为生物学为生活的其他领域的过程提供了模型,但并没有将它们简化为生物学。为了验证这一见解,本文特别考察了《道德谱系》中用于变化过程的隐喻(或明显的隐喻),展示了尼采如何利用他特别重视的两个学术分支:文献学和生物学。在尼采论证的某些难点,这些隐喻受到了压力,尤其是当尼采应用了一系列不相容的隐喻来解释(或似乎解释)“奴隶道德”的发展时。**********尼采的《道德谱系》是一部宏大的,近乎疯狂的论文。它不仅要解释道德的起源,而且要解释社会、习俗、法律、阶级差异、宗教、神职人员和学术的起源——所有这些都在权力意志的标志下。在关注起源的同时,它也关注变化和连续性。例如,它提出了这样一个问题:几千年来,生活在日常生活中的原始人是如何转变为现代的自主主体的,他们能够记住过去,并对未来做出承诺。但它也揭示了连续性,例如,早期的牧师,他可怕的苦行和现代学者之间的连续性,他们的苦行表现为对真理的忠诚。因此尼采需要变化与连续性相结合的模型,他在自己时代的科学中发现了两个这样的模型。一个是语文学,研究单词的演变;另一门是进化生物学,研究生物体的转化。此外,特别是在第三篇文章中,他还求助于生理学和医学。他对这些科学的不断引用使尼采的晚期散文具有丰富的隐喻性。然而,隐喻在哪里停止,字面意义在哪里开始?许多尼采最近的诠释者认为他是激进的认识论怀疑论,否定了知识和真理的可能性。因此,不可能有文字语言,因为没有坚实的现实供这种语言所指。的确,《道德谱系》一书的结尾质疑了对真理的追求,将其描述为基督教禁欲主义的最后残余,并钦佩地谈到伊斯兰教派的秘密教义是“没有什么是真实的,一切都是允许的”(III, 24)。然而,《序言》似乎宣告了对道德真理的一种实事求是的、学术性的、艰苦的探索。尼采将自己的计划与康德的“天生的对与错”概念进行了对比,他解释了自己的信念,即道德是有历史的。他在英国哲学家身上发现了一些挑衅,他们将“道德感”追溯到社交性或效用。为了接近“道德的真实历史”(序言7;然而,他的假设需要一个更坚实的基础。他的方法是“灰色的”,而不是“进入蓝色”的猜测:“我指的是被记录下来的,真正可以确定的,真正存在的,简而言之,人类道德过去的整个漫长的象形文字,如此难以破译!”令尼采的后现代诠释者惊讶的是,这听起来很像对可确定数据的承诺。这些数据在尼采的另一部晚期著作《反基督者》(第47节)中被描述为“所有迷信的两个最大反对者,语言学和医学”的两门科学中尤为明显。…
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Nineteenth Century Prose
Nineteenth Century Prose Arts and Humanities-Arts and Humanities (all)
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期刊介绍: "Nineteenth-Century Prose" invites submissions for a special issue on the picturesque for Fall 2002. The picturesque is, arguably, the most pervasive and familiar aesthetic term of the nineteenth century, as well as its most controversial. It demarcates the limits of nineteenth century sympathy and designates the terms of cosmopolitan, national and regional inclusion.
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The Limits of Metaphor in Nietzsche's Genealogy of Morals What's the Use of Reading Emerson Pragmatically? the Example of William James Periodical Literature in Nineteenth-Century America Patrick Brantlinger, Rule of Darkness: British Literature and Imperialism, 1830-1914 Ludmilla Jordanova, Sexual Visions: Images of Gender in Science and Medicine between the Eighteenth and Twentieth Centuries
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