The Philosophy of Prosopopoeia

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The Philosophy of Prosopopoeia. / Benne, Christian.

In: Journal of Nietzsche Studies, Vol. 47, No. 2, 2016, p. 275-286.

Research output: Contribution to journalJournal articleResearchpeer-review

Harvard

Benne, C 2016, 'The Philosophy of Prosopopoeia', Journal of Nietzsche Studies, vol. 47, no. 2, pp. 275-286.

APA

Benne, C. (2016). The Philosophy of Prosopopoeia. Journal of Nietzsche Studies, 47(2), 275-286.

Vancouver

Benne C. The Philosophy of Prosopopoeia. Journal of Nietzsche Studies. 2016;47(2):275-286.

Author

Benne, Christian. / The Philosophy of Prosopopoeia. In: Journal of Nietzsche Studies. 2016 ; Vol. 47, No. 2. pp. 275-286.

Bibtex

@article{263d0ad0101f4fb29553a9e46dcd6df7,
title = "The Philosophy of Prosopopoeia",
abstract = "Nietzsche’s writings are complex polyphone compositions: Nietzsche adopts a multitude of positions and voices, including their specific rhythmical features, through the rhetorical technique of prosopopoeia. This is also the case in his aphoristic books. By interpreting the famous “incipit parodia” from the preface to the second edition of GS, I argue in this essay that Nietzsche actually understands the concept of parody in the ancient sense, where it is nothing else but a form of prosopopoeia or personification—in contrast to the modern sense, where it denotes a kind of mockery. This has wide-ranging consequences for the understanding of Nietzsche’s writing in general, his theory of the mask, and his identification of tragedy and parody.",
author = "Christian Benne",
year = "2016",
language = "English",
volume = "47",
pages = "275--286",
journal = "Journal of Nietzsche Studies",
issn = "0968-8005",
publisher = "Pennsylvania State University Press",
number = "2",

}

RIS

TY - JOUR

T1 - The Philosophy of Prosopopoeia

AU - Benne, Christian

PY - 2016

Y1 - 2016

N2 - Nietzsche’s writings are complex polyphone compositions: Nietzsche adopts a multitude of positions and voices, including their specific rhythmical features, through the rhetorical technique of prosopopoeia. This is also the case in his aphoristic books. By interpreting the famous “incipit parodia” from the preface to the second edition of GS, I argue in this essay that Nietzsche actually understands the concept of parody in the ancient sense, where it is nothing else but a form of prosopopoeia or personification—in contrast to the modern sense, where it denotes a kind of mockery. This has wide-ranging consequences for the understanding of Nietzsche’s writing in general, his theory of the mask, and his identification of tragedy and parody.

AB - Nietzsche’s writings are complex polyphone compositions: Nietzsche adopts a multitude of positions and voices, including their specific rhythmical features, through the rhetorical technique of prosopopoeia. This is also the case in his aphoristic books. By interpreting the famous “incipit parodia” from the preface to the second edition of GS, I argue in this essay that Nietzsche actually understands the concept of parody in the ancient sense, where it is nothing else but a form of prosopopoeia or personification—in contrast to the modern sense, where it denotes a kind of mockery. This has wide-ranging consequences for the understanding of Nietzsche’s writing in general, his theory of the mask, and his identification of tragedy and parody.

UR - https://muse.jhu.edu/article/623771/pdf

M3 - Journal article

VL - 47

SP - 275

EP - 286

JO - Journal of Nietzsche Studies

JF - Journal of Nietzsche Studies

SN - 0968-8005

IS - 2

ER -

ID: 180639126