摘要
尼采在《悲剧的诞生》中建构了“阿波罗—狄奥尼索斯”悲剧二元动力系统,其中,阿波罗之面相、特质与功能仍有待阐明。从阿波罗作为“预言神”的面相切入,尼采实现了对悲剧“预言神”必然性真理属性的否定与偶然性真理的确证。赫拉克利特、叔本华的相关理论在尼采式“预言神”中分别发挥了提供生成性底色与深化审美向度的功能。由此,尼采式“预言神”实现了推动“瞬间”生成、构建整体审美言说系统的动力功能,并在此意义上成为以真理维度重新审视尼采悲剧美学的起点。
In The Birth of Tragedy,Nietzsche constructs a dynamic duality of tragedy through the figures of Apollo and Dionysus.However,the appearance,nature and role of Apollo still require further clarification.By conceptualizing Apollo as a prophetic god,Nietzsche challenges the idea of tragic truth as an absolute necessity,instead suggesting its contingency.The philosophies of Heraclitus and Schopenhauer provide the foundational grounds and aesthetic depth for Nietzsche's reinterpretation of the prophetic role.Thus,the Nietzschean prophetic god takes on a dynamic function:it initiates the emergence of the moment and creates a cohesive system of aesthetic expression.This perspective also offers a critical departure point for reevaluating Nietzsche's tragic aesthetics in relation to the concept of truth.
出处
《四川戏剧》
北大核心
2025年第4期74-79,共6页
Sichuan Drama
