The document discusses Friedrich Nietzsche's 1888 work "Ecce Homo" and how it shaped perceptions of his philosophy. It argues that in "Ecce Homo", Nietzsche sought to establish a new narrative framework that presented his entire body of work as a highly organized project. He did this by writing new prefaces for earlier works that reinterpreted them in light of his later philosophical ideas. The document examines how "Ecce Homo" departed from traditional autobiographical forms and applied Nietzsche's concept of eternal recurrence to say "yes" to Nietzsche's altered past.

1. How the 'True Friedrich Nietzsche' Finally Did Become a Fable? The Story of an Error by Kristóf Fenyvesi Jyväskylä University Doctoral School of Hungarian Studies 27 May 2010 University of Vaasa, Finland www.kristoffenyvesi.hu

2. 1. The Death of the Lebensphilosoph 'In truth there are no individual truths, but rather mere individual errors - the Individual itself is an error.' Friedrich Nietzsche

3. 1. The Death of the Lebensphilosoph 'In truth there are no individual truths, but rather mere individual errors - the Individual itself is an error.' Friedrich Nietzsche Elisabeth Förster-Nietzsche, 1846-1935

4. 1. The Death of the Lebensphilosoph 'In truth there are no individual truths, but rather mere individual errors - the Individual itself is an error.' Friedrich Nietzsche Elisabeth Förster-Nietzsche, 1846-1935

5. 1. The Death of the Lebensphilosoph 'In truth there are no individual truths, but rather mere individual errors - the Individual itself is an error.' Friedrich Nietzsche Friedrich Nietzsche's death mask

6. 1. The Death of the Lebensphilosoph 'In truth there are no individual truths, but rather mere individual errors - the Individual itself is an error.' Friedrich Nietzsche Friedrich Nietzsche's death mask Max Klinger

7. 1. The Death of the Lebensphilosoph 'In truth there are no individual truths, but rather mere individual errors - the Individual itself is an error.' Friedrich Nietzsche Klinger's Nietzsche in bronse Max Klinger

8. 1. The Death of the Lebensphilosoph 'In truth there are no individual truths, but rather mere individual errors - the Individual itself is an error.' Friedrich Nietzsche Klinger's Nietzsche in bronse Max Klinger The Nietzsche Archive, Weimar

9. 1. The Death of the Lebensphilosoph 'In truth there are no individual truths, but rather mere individual errors - the Individual itself is an error.' Friedrich Nietzsche Klinger's Nietzsche in bronse Max Klinger The Nietzsche Archive, Weimar „ I am a Doppelgänger, I have a 'second' face in addition to the first. And perhaps also a third.” Nietzsche, Ecce Homo

10. 1. The Death of the Lebensphilosoph 'In truth there are no individual truths, but rather mere individual errors - the Individual itself is an error.' Friedrich Nietzsche Ecce Homo manuscript, 1888 Max Klinger The Nietzsche Archive, Weimar „ I am a Doppelgänger, I have a 'second' face in addition to the first. And perhaps also a third.” Nietzsche, Ecce Homo

11. 2. The Life of the Lebensphilosoph

12. 2. The Life of the Lebensphilosoph

13. 2. The Life of the Lebensphilosoph

14. 3. Ecce Narrative: the Corporeal Philology, Philosophy and Physiology of the „Dionysian”

15. 3. Ecce Narrative: the Corporeal Philology, Philosophy and Physiology of the „Dionysian” - stimulus detection

16. 3. Ecce Narrative: the Corporeal Philology, Philosophy and Physiology of the „Dionysian” - stimulus detection - transfigurational activity

17. 3. Ecce Narrative: the Corporeal Philology, Philosophy and Physiology of the „Dionysian” - stimulus detection - transfigurational activity „ double metaphorization”

18. 3. Ecce Narrative: the Corporeal Philology, Philosophy and Physiology of the „Dionysian” - stimulus detection - transfigurational activity „ double metaphorization” Nietzsche signs the Ecce Homo as: 'Dionysus versus the Crucified.'

19. 4. The Genealogy of Ecce Homo

20. 4. The Genealogy of Ecce Homo 1. - the new prefaces of the re-edited older works, published between 1886-1887; - Nietzsche's newer works between 1883-1889

21. 4. The Genealogy of Ecce Homo 1. - the new prefaces of the re-edited older works, published between 1886-1887; - Nietzsche's newer works between 1883-1889 2. - Nietzsche's letters written between 1886 and 1889

22. 4.1. A New Face Made of New Prefaces

23. 4.1. A New Face Made of New Prefaces 1886-87: second editions, and new prefaces to - The Birth of Tragedy - Human, All-Too-Human - Daybreak - The Gay Science

24. 4.1. A New Face Made of New Prefaces 1886-87: second editions, and new prefaces to - The Birth of Tragedy - Human, All-Too-Human - Daybreak - The Gay Science - Thus Spoke Zarathustra (1883-85); Beyond Good and Evil (1886); On the Genealogy of Morality (1887); The Case of Wagner (1888); Twilight of the Idols (1888); The Antichrist (1888); Nietzsche contra Wagner (1888)

25. 4.1. A New Face Made of New Prefaces ...the whole Nietzschean philosophical oeuvre’s narrative structure is established by the Nietzschean inshights represented by the works written between 1886 and 1889.

26. 4.1. A New Face Made of New Prefaces ...the whole Nietzschean philosophical oeuvre’s narrative structure is established by the Nietzschean inshights represented by the works written between 1886 and 1889. ...only three years’ textual work puts into a narrative frame the whole oeuvre, which was originally created during two decades.

27. 4.1. A New Face Made of New Prefaces

28. 4.2. Letters to Readers – Letter to a Danish friend

29. 4.2. Letters to Readers – Letter to a Danish friend Georg Brandes, 1842-1927

30. 5. From the Linear Chronology to the Cyclical Sense of Time: to Feel Cosmically and to Collapse

31. 5. From the Linear Chronology to the Cyclical Sense of Time: to Feel Cosmically and to Collapse The Ecce Homo breaks away from the - Saint Augustinian autobiographical tradition

32. 5. From the Linear Chronology to the Cyclical Sense of Time: to Feel Cosmically and to Collapse The Ecce Homo breaks away from the - Saint Augustinian autobiographical tradition - Rousseauean 'apologetical' narrative

33. 5. From the Linear Chronology to the Cyclical Sense of Time: to Feel Cosmically and to Collapse The Ecce Homo - applying the thought of eternal recurrence

34. 5. From the Linear Chronology to the Cyclical Sense of Time: to Feel Cosmically and to Collapse The Ecce Homo - applying the thought of eternal recurrence - says 'yes' its author's altered past

35. 5. From the Linear Chronology to the Cyclical Sense of Time: to Feel Cosmically and to Collapse 'In truth there are no individual truths, but rather individual errors; the individual itself is an error. […] To stop feeling oneself as such a fantastic ego! To learn gradually to throw away the supposed individual! To discover the errors of the ego! [...] Beyond "me" and "you"! To feel cosmically.' (Nietzsche, 9, 441-2)

36. 5. From the Linear Chronology to the Cyclical Sense of Time: to Feel Cosmically and to Collapse 'In truth there are no individual truths, but rather individual errors; the individual itself is an error. […] To stop feeling oneself as such a fantastic ego! To learn gradually to throw away the supposed individual! To discover the errors of the ego! [...] Beyond "me" and "you"! To feel cosmically.' (Nietzsche, 9, 441-2) 'I am every name in history.' Nietzsche

37. 6. The Case of the Augmented Level: Nietzsche's Travel to his Past

38. 6. The Case of the Augmented Level: Nietzsche's Travel to his Past Narrative Framework model

39. 6. The Case of the Augmented Level: Nietzsche's Travel to his Past Narrative Framework model Narrative Framework model Stack model

40. 6. The Case of the Augmented Level: Nietzsche's Travel to his Past

41. 6. The Case of the Augmented Level: Nietzsche's Travel to his Past Nietzsche's double aim:

42. 6. The Case of the Augmented Level: Nietzsche's Travel to his Past Nietzsche's double aim: to make his 'posthumus readers' - to interpret his earlier works from the aspects of his complex Dionysian philosophy, which he developed later

43. 6. The Case of the Augmented Level: Nietzsche's Travel to his Past Nietzsche's double aim: to make his 'posthumus readers' - to interpret his earlier works from the aspects of his complex Dionysian philosophy, which he developed later - to present his whole oeuvre as an exceptionally well-organized project

44. 6. The Case of the Augmented Level: Nietzsche's Travel to his Past Nietzsche's double aim: to make his 'posthumus readers' - to interpret his earlier works from the aspects of his complex Dionysian philosophy, which he developed later - to present his whole oeuvre as an exceptionally well-organized project Solution:

45. 6. The Case of the Augmented Level: Nietzsche's Travel to his Past Nietzsche's double aim: to make his 'posthumus readers' - to interpret his earlier works from the aspects of his complex Dionysian philosophy, which he developed later - to present his whole oeuvre as an exceptionally well-organized project Solution: to build up a new metanarrative

46. 6. The Case of the Augmented Level: Nietzsche's Travel to his Past Nietzsche's double aim: to make his 'posthumus readers' - to interpret his earlier works from the aspects of his complex Dionysian philosophy, which he developed later - to present his whole oeuvre as an exceptionally well-organized project Solution: to build up a new metanarrative - include subsequently written prefaces into the new editions and modify the earlier texts and their structure

47. 6. The Case of the Augmented Level: Nietzsche's Travel to his Past Nietzsche's double aim: to make his 'posthumus readers' - to interpret his earlier works from the aspects of his complex Dionysian philosophy, which he developed later - to present his whole oeuvre as an exceptionally well-organized project Solution: to build up a new metanarrative - include subsequently written prefaces into the new editions and modify the earlier texts and their structure

48. Thank you very much for your attention! All Nietzsche-montages used in this presentation are from Sándor Vály's (Helsinki) 'After Nietzschean Narratives' series, except on the slides nr. 37-39. which is the work of Giuliano Cocco . www.kristoffenyvesi.hu