The Twilight of the Idols.³ Then, in the following section of the same work, he sketches out what he calls "The History of an Error," namely, a genealogy of reversion — a devolution, as it were — of the very pretense of such a simulation as the real, the true. He subtitles the account, "How the "True World" Finally Became a Fable." This devolution closely anticipates Baudrillard's own account, and for all purposes, it is from Nietzsche's analysis that Baudrillard devised his own. Nietzsche goes on, however, to show the specific content of what such a hyperreal world entails, and in doing so, directs his critique against Christianity — a frequent target for Nietzsche. More importantly, the critique is directed against the foundational terms of Western thought itself, which terms, or ideals, or "idols" traditionally served to explain and lend meaning to the human condition, thence to address that condition, and ostensibly, would help enable us to improve it.⁴ Finally, in The Antichrist,⁵ Nietzsche proposes to explain what he sees as an entire set of motivations which subtend the terms and the initial construction of this hyperreal world." /> Twilight of the icons - Allison David B. | sdvig press