Abstract

The subject of this thesis is Friedrich Nietzsche’s methodology, the genealogical mode of inquiry, which came to fruition in On the Genealogy of Morals. The precise nature of the genealogy, as a mode of inquiry, is a site of contest amongst scholars, with the central debates pivoting around four questions which arise upon considering the methodology: what is the critical import of Nietzsche’s genealogical mode of inquiry? What form of critique does it take? To whom does Nietzsche address his reflections? And what role, if any, does history play in Nietzsche’s genealogical narratives? Accordingly, this thesis seeks to offer and to defend answers to the central questions that are generated by the consideration of Nietzsche’s methodology. In order to get a foothold into these debates and to provide the boundary within which these disagreements occur the first chapter has as its object of inquiry an examination and evaluation of Nietzsche scholars’ responses to these issues. In chapter two I defend my interpretation against these rival views, and contend that the genealogy takes the form of an immanent critique, and that it is intended, at least, to reach all of Nietzsche’s contemporaries. The adage “genealogy is history correctly practiced” is treated in the remaining three chapters, in which I attempt to morph what appears to be at present an uninformative formulation into an informative one by arguing that for Nietzsche historiography is best seen as a form of artistry. And, this I submit, serves to shed light upon the genealogical mode of inquiry, and to shape the boundary by which the equation of genealogy as methodology with history becomes instructive