Abstract
This chapter considers Richard Shusterman’s claim in his The Silent, Limping Body of
Philosophy2 that Friedrich Nietzsche’s work constitutes a mere inversion of the mind‐body hierarchy,
by providing an interpretation of selections from the Nietzschean corpus. The aim of the chapter is to
show that Nietzsche’s position on the self is able to avoid falling into the “logic of reversal” that
Shusterman diagnoses in his thinking. The chapter’s arguments then provide support for the
conclusion that Nietzsche’s writings on the singing, dancing body could be seen as an example of a
(proto‐) phenomenology, and indeed, a (proto‐) somaesthetics.