作　　者： ;

机构地区： 中山大学人文科学学院中文系

出　　处： 《文艺理论研究》 2012年第2期107-115,共9页

摘　　要： 《悲剧的诞生》最引人瞩目的部分是"悲剧之死"的断言。在尼采看来,欧里庇得斯悲剧在"歌队"、"观众"和"进场"上的变革,背离了体现"狄奥尼索斯精神"的真正悲剧,导致了古希腊悲剧的死亡。尼采把这一现象最终归咎为"苏格拉底主义",它不仅催生了欧里庇得斯式"希腊欢乐",也与西方现代启蒙密切相关。于是"狄奥尼索斯精神"成了尼采的"乡愁",用以对抗西方古今启蒙理性。正是在这个意义上,《悲剧的诞生》乃是"后现代"的开山之作,但"后现代主义者"往往不能正视尼采的"乡愁"。实际上,尼采的乡愁诗学始终以"生命意志"和"永恒回归"抵抗西方古今启蒙时代的颓废与庸俗。 The most remarkable assertion Nietzsche made in his Birth of Tragedy concerns ＂the death of tragedy. ＂ The reason for the death of the Greek tragedy is, for Nietzsche, ＂the change of chorus, spectator and prologue in Euripides＇ tragedies, which are contrary to the authentic Greek tragedies that represented the Dionysian spirit. Nietzsche attributed this situation to Socratism, claiming that Socratism not only resulted in a Euripidean ＂Greek cheerfulness＂ but also related closely to the western modern enlightenment. Thereupon, the Dionysian spirit becomes Nietzsche＇ s nostalgia against the western ancient and modern enlightening rationality. In this sense, The Birth of Tragedy is the first work on postmodernism, although the postmodernists have not been able to put Nietzsche＇ s nostalgia in perspective. Nietzsche＇ s poetics of nostalgia has been opposing the decadency and philistinism in the western ancient and modern enlightenment with the ＂will to life＂ and ＂eternal return＂.

关 键 词： 悲剧之死 欧里庇得斯 苏格拉底主义 狄奥尼索斯精神 乡愁

领　　域： [文学]