Abstract

Adventurers and discoverers are recurring figures and themes in Nietzsche’s writings. This is especially the case in Morgenröthe and Die fröhliche Wissenschaft, where this conceptual constellation belongs to the context of the “free spirits”. For Nietzsche, it seems, adventurers and discoverers represent the productive as much as destructive potential of any desire for knowledge. In this article, I will thus focus on two connected questions: (1) what are the specific epistemic characteristics of the adventurer and the discoverer, and (2) how are these characteristics performed, and how do they become manifest, in a text like Morgenröthe. The analysis of the function of the “theatre eye” plays a key role here.