This long-overdue translation brings to the English-speaking world the work that set the tone for the Post-structuralist reading of Nietzsche.

The issue of style, of why Nietzsche wrote as he did, is fundamental, on any level, to reading his texts. Some Nietzsche critics (in particular, those, such as Jean Granier, indebted to Heidegger's reading), in effect translated Nietzsche's terms back into those of a philosophy of ontology.

This book (which includes an appendix specifically directed against the "Heideggerian" reading) shows how such an approach fails to interrogate the precise terms, such as "Nature" or "life", that Nietzsche used in place of "being," and to ask the meaning of this substitution.

Dealing with all of Nietzsche's work, this book shows how he came to arrive at that position, and that to shift the question from ontology to psychology involves an important shift in the status of metaphor. The author begins with the privilege accorded to music and sound in Nietzsche's thought, to tone as an echo of the universal human pleasure and pain that serves as a foundation to all language.

The Birth of Tragedy establishes a hierarchy between the different symbolic languages, which are metaphorical transpositions of the "music" of the world, itself the most appropriate representation of the innermost essence of things.

In the way Nietzsche poses this, the author establishes his early enchantment with Platonic ideals and the strict distinction between a univocal "truth" and metaphor as "ornament." Thereafter, she traces his disillusionment with and disavowal of that ideal, showing how for Nietzsche metaphor eventually became, not a shift that could be followed back to an original truth, but the precondition of all meaning.

The author gives not only a reading of Nietzsche's ideas, but a method for investigating his style. She shows in great detail how it influences both Nietzsche's ideas and the way in which they are to be understood. In so doing, she exemplifies how post-structuralist methods can be used to open up classical philosophical texts to new readings.

She writes conceptually in the knowledge that the concept has no greater value than metaphor and is itself a condensation of metaphors, rather than writing metaphorically as a way of denigrating the concept and proposing metaphor as the norm, and thus acknowledges the specificity of philosophy, its irreducibility to any other form of expression - even when this philosophy has nothing traditional about it any longer, even when it is, like Nietzsche's an unheard-of and insolent philosophy.