ABSTRACT
Ventriloquism helps to facilitate the Nietzschean theme and this chapter introduce it as a paradigmatic metaphor to express the idea of conversational exchange between two voices sources, which simultaneously just one source is talking to itself. It claims that there is a certain ventriloqual tendency in Nietzsche and that many of the features of the Bergen/McCarthy paradigm are also located throughout Nietzsche's writings. The chapter particularly interested in artistic interpretation, a central epistemological idea for Nietzsche, an activity that attributing to Nietzsche's creative types whose selves are constructed as they give voice to meaningful world items. Nietzsche's discussion of tragedy etymologically suggests the song of the goat, the goat-like satyr, an early, other, musical voice. Nietzsche's well-known idea is that intoxicated festival participants, by dropping individual differences, triggered the appearance of Dionysis by vocalizing as a unity. Rather than adopt skepticism or continue along the misguided path of searching for an approach to some non-anthropomorphic world-version, instead, Nietzschean embraces anthropomorphism.
