摘要
尼采坚持在“上帝死了”的境遇中重新思考一切,他首次将生命理解成唯一的存在,将生命的存在方式理解成艺术,进而将存在论变成艺术学。尼采的艺术学不是美学(感性学)而是生命学,尼采的艺术形而上学不是感性形而上学而是生命形而上学,尼采的审美主义不是感性主义而是生命主义。从根本上看,尼采艺术论仍在现代形而上学的人本主义构想内,它对现代性的批判仍未超出现代性的基本信念。不过,尼采艺术论所具有的现代性意义十分特殊,它以极端的方式突出了生命与超生命者的冲突与紧张,这使它与通常意义上的审美主义(突出理性与感性的冲突和紧张)区别开来,从而在整体上提供了一种彻底世俗化的理解生命、世界和存在的艺术视角与逻辑构架。尼采艺术论在其诗意言述的背后潜藏着极端的强权意志。
Insisting on rethinking all in the context of the“the death of God”Nietzsche was the first to see Life as the only existence and the way of Life's existence as an art, and hence turn ontology to art studies. Art studies in Nietzsche's sense are not about aesthetics, but about Life. In the same way, Nietzschean metaphysics and aestheticism deal with Life rather than perception. Even though the Nietzschean theory of art is still within the humanistic framework of modern metaphysics, and his criticism of modernity fails to surpass the basic modernistic credos, they have very special implications in that they highlight the conflicts and tension between Life and Super-life in a heretical way. That distinguishes them from aestheticism in the usual sense(the aesthetics that highlights the conflicts and tension between rationality and perception). It is in this regard that the Nietzschean theory of art provides a complete artistic perspective and logical framework for secularized understanding of Life, the World and Being. Behind his poetic expression lies the extremely strong will to power.
出处
《中国社会科学》
CSSCI
北大核心
2005年第4期141-153,共13页
Social Sciences in China
